Ancient Greek Ceramics

A collection of intricately designed terracotta vases featuring mythological and everyday scenes, showcasing black-figure and red-figure techniques from ancient Greece.

Red -support crater; Painter sitting Nike (approx. 350-340 BC), a group of dotted stones (approx. 355-ok. 320 BC), Kr 3. W. 4th century BC (-350-00-00--326-00-00);

Terracotta olpe (jug) ca. 520 B.C. Attributed to the Amasis Painter Courting sceneA bearded man in an elaborate fringed cloak approaches a woman who holds a myrtle branch and offers him a rose. She is dressed like a bride with her cloak pulled over her head and a wreath of myrtle in her hair.. Terracotta olpe (jug). Greek, Attic. ca. 520 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta amphora (jar) ca. 550-530 B.C. Attributed to the Affecter Obverse and reverse, Dionysos with men and youthsThough the name the Affecter may have a pejorative ring, attention to his work reveals his accomplishment as an artist. The representation of Dionysos, the god of wine, exemplifies the Affecter's solid, slow-moving figures, sometimes ungainly but always articulated with the most precise and varied detail.. Terracotta amphora (jar). Greek, Attic. ca. 550-530 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta hydria: kalpis (water jar) ca. 460-450 B.C. Attributed to the Niobid Painter Triptolemos between Demeter and PersephoneThe Niobid Painter ranks with the Villa Giulia Painter as one of the preeminent artists of the second quarter of the fifth century B.C. The Niobid Painter is remembered particularly for mythological representations on large pots. Here, on a smaller scale, he depicts Triptolemos being dispatched by the goddess Demeter, the patroness of fertility and agriculture, and her daughter, Persephone, to teach the cultivation of grain to humanity. The great attraction of this legendto the artist and the viewerlies in the winged car that transports Triptolemos. The model here comes "loaded" with snakes.. Terracotta hydria: kalpis (water jar) 254270 : Attributed to the Niobid Painter, Terracotta hydria: kalpis (water jar), ca. 460?450 B.C., Terracotta, H. 10 15/16 in. (27.7 cm); diameter 8 7/8 in. (22.6 cm); width with handles 10 15/16 in. (27.8 cm). The Metropolitan

Amphora (Storage Jar) 400 BCE-301 BCE Central Italy. With its monumental proportions, white volute handles, and red-figure decoration, this amphora bears a striking resemblance to vases from Apulia on the eastern coast of southern Italy. However, this vase belongs to the Faliscan culture, the Etruscansí southernmost neighbor in the region of modern-day Tuscany. Together, the Etruscans and Faliscans would struggle against Roman expansion. The high quality and popularity of the Faliscan wares vied with Roman ceramic production, intensifying the tension between the regions. Here a nude female hands a young warrior his armor, and around the neck are sea-creatures.. terracotta, decorated in the red-figure technique . Ancient Greek

Paestan bell-shaped crater with red figures, by The Naples Painter, 340 - 330, 4th Century, . Italy: Campania: Naples: National Archaeological Museum: inv82178 - ex Museo Borbonico 1787. Whole artwork. Bell-shaped Paestan crater with red figures laurel waves palmettes plant volutes crown phials/vials

Red -support crater; Painter sitting Nike (approx. 350-340 BC), a group of dotted stones (approx. 355-ok. 320 BC), Kr 3. W. 4th century BC (-350-00-00--326-00-00);

Black-figure pottery, Hydria depicting young Mercury's theft of Apollo's cattle, detail, side depicting Apollo accusing Hermes before Zeus and Maia, from Cerveteri, ancient Caere

Attic Oinochoe red-figure by Shuvalov painter end Vth century b.C. showing Amazon women. Museum: ARCHAEOLOGICAL MUSEUM, FERRARA, ITALIA.

Terracotta chariot krater ca. 1375-1350 B.C. Helladic, Mycenaean During the fourteenth century B.C. broad and deep-bodied kraters, often decorated with complex pictorial scenes, were produced in Greece, particularly in the Argolid and in Cyprus. A great number of these works came to light on Cyprus, and they were often attributed to artists working in a Cypro-Mycenaean idiom. Evidence had increasingly indicated that trade between the Argolid and Cyprus was active and that the pictorial vases were a major commodity made on the mainland and traded eastward, probably for their contents as well as the ware itself. Scientific tests have corroborated these findings. Recent analyses have shown that this chariot krater came from a well-attested workshop in the vicinity of Mycenae and Berbati. The chariot was an important motif in art from the Greek mainland; its frequency on Mycenaean pictorial vases has characterized an entire subgroup. These vases were probably connected with funerary practi

Hydria czerwonofigurowa z przedstawieniem bogini Iris z kerykejonem, atrybutem boskich posłańców. Malarz Gołuchów 37, author

Column-Krater (Mixing Bowl) 460 BCE Athens. The Greeks diluted their wine by blending it with water. The master of ceremonies at the symposium, or drinking party for men, determined the ratio of wine to water, both of which were poured into a large mixing bowl, like this one. This particular shape is called a column krater after its columnar handles. It is decorated with a mythological scene. Salmoneus, king of Elis, pretended to be Zeus by imitating the sound of thunder and the appearance of lightning. Angered at his impudence, here Zeus strikes Salmoneus dead with a real lightning bolt.. terracotta, decorated in the red-figure technique . Ancient Greek

Terracotta neck-amphora (jar) ca. 540 B.C. Attributed to Group E On the body, obverse, Menelaos reclaiming his wife, Helen, after the Trojan War; reverse, flute player and dancersOn the neck, obverse and reverse, horsemen and youthsGroup E is the name given to a workshop of painters active during the middle of the sixth century B.C. Exekias, the greatest black-figure artist, began among them, and it is to him that the Group's name refers. Like the neck-amphora by Exekias himself, this one has an ample shape and decoration on the shoulder.. Terracotta neck-amphora (jar) 254876 : Attributed to Group E, Terracotta neck-amphora (jar), ca. 540 B.C., Terracotta, H. 14 5/8 in. (37.1 cm). The Metropolitan Museum of Art, New York. Fletcher Fund, 1956 (56.171.18)

Black-Figure Neck Amphora, c. 540 BCE, Attributed to the Painter of Vatican 359, Greek, (Attica), 15 1/4 x 11 in. (38.74 x 27.94 cm), Slip-glazed earthenware, Greece, 6th-5th century BCE, This massive amphora, used for carrying wine or oil, recalls the works of the great Exekias. The figures, although lacking the refinement found in those he painted, exhibit this master's distinctive style, which others in his workshop copied.

Terracotta column-krater (bowl for mixing wine and water) ca. 460 B.C. Attributed to the Painter of Bologna 228 Obverse, warrior and quadriga (four-horse chariot) with driverReverse, Dionysos and two maenadsThe scene on the obverse shows a four-horse chariot from which a warrior has dismounted in order to fight. The painter seems to have a predilection for effects of glaze on a reserved backgroundnote the armor of the charioteer and, on the reverse, the black kantharos (drinking cup with high handles) of Dionysos.. Terracotta column-krater (bowl for mixing wine and water) 253034 : Attributed to the Painter of Bologna 228, Terracotta column-krater (bowl for mixing wine and water), ca. 460 B.C., Terracotta, H. 17 13/16 in. (45.2 cm) diameter of mouth 13 15/16 in. (35.4 cm). The Metropolitan Museum of Art, New York. Fletcher Fund, 1929 (29.131.7)

Volume crater; Likurg painter (Fl. CA 350-340 BC); 350-340 BC (-350-00-00--340-00-00);

Terracotta lekythos (oil flask). Culture: Greek, Attic. Dimensions: H. 6 7/8 in. (17.5 cm). Date: ca. 550-530 B.C..On the shoulder, women dancing between musicians playing flute and lyreOn the body, wedding processionThis is the earliest and most complete known representation of an Attic wedding. The bridal couple with the best man behind them sit in a cart drawn by two donkeys. A mule cart with four guests follows. Other members of the procession are on foot. The woman in the lead holds two torches, indicating that the scene takes place at night. The procession heads toward the bridegroom's house where a woman, probably the mother of the groom, awaits. The architecture of the house is carefully indicated; the white columns of the porch may be painted wood. Museum: Metropolitan Museum of Art, New York, USA.

Calyx-krater ca. 460 B.C. Attributed to a follower of Douris. Calyx-krater. Greek, Attic. ca. 460 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta lekythos (oil flask) 2nd quarter of 5th century B.C. Attributed to the Icarus Painter Woman seated before kalathos (wool basket)The painter here has carefully rendered the wool filling the kalathos. A mirror hangs above.. Terracotta lekythos (oil flask). Greek, Attic. 2nd quarter of 5th century B.C.. Terracotta; red-figure, white-ground. Classical. Vases

Terracotta amphora (jar). Culture: Greek, Attic. Dimensions: H. 20 1/8 in. (51.1 cm)diameter of mouth 9 in. (22.9 cm). Date: ca. 510 B.C..Obverse, chariot setting outReverse, frontal chariotChariot scenes are popular on black-figure vases of the late sixth century B.C. The ample surfaces provided by the newly invented amphora type A, characterized by the flanged handles and foot in two degrees, accommodated the dense compositions. As this work excellently demonstrates, artists were interested in displaying their skill, depicting the chariot in both side and front views. The scene on the obverse differs from that of the departure of Herakles for Mount Olympos only in the nature of the participants. The figures here are Greek hoplites. In the apotheosis of Herakles, the figures are gods, as indicated by their attributes. Museum: Metropolitan Museum of Art, New York, USA.

Oenochoé with golden relief. Tour work, with applique decor. Taranto (), Around 350 BC. AD Museum of Fine Arts of the City of Paris, Petit Palais. 58728-16 Aurige, Boisson, Ceramique, Cruche, Char, Horse, Decor in relief, Dore, IVEME 4th 4th 4th 4th century AV.JC, Oenoche, Oenochoe, Ancient Periode, Pottery, Content, Wine, Wine

Terracotta bell-krater (mixing bowl). Culture: Greek, South Italian, Campanian. Dimensions: H. 15 7/8 in. (40.3 cm). Date: ca. 350-325 B.C..Obverse, two Oscan warriors and two womenReverse, three youthsLike the skyphos nearby (91.1.444), this piece represents Cumaean Campanian vase-painting. The articulation of the figures, their drapery, and their attributes are colorful and slightly awkward. Museum: Metropolitan Museum of Art, New York, USA.

Greek art. Attic krater painted with black figures representing an Homeric battle around the body of a dead warrior (possibly Patroclus). Found at Pharsala. Dated circa 530 BCE. National Archaeological Museum. Athens. Greece.

Terracotta amphora with lid 3rd quarter of the 6th century B.C. Etruscan On the shoulder panel, obverse, two mermen. On the reverse, two confronted dogs. Around the lower body, six metopes with birds.This colorful and unusual vase presents an enterprising Etruscan artist's interpretation of an originally Greek shape and type of decoration. The amphora, with its lid, two-part handles, echinus foot, and rays at the base of the body as well as the black-figure technique, depends on Athenian prototypes of the mid-sixth century B.C. The placement of the panels, their subject matter, and the contrast between black and red in the use of color reflect an independent Etruscan spirit. The metopes filled with birds recall the Attic cup by the Amasis Painter showing the stables of Poseidon (exhibited in Gallery 154). The function of the amphora would probably have been for storage. The closest parallel is another amphora in the university museum in Bonn, Germany.. Terracotta amphora with lid 2585

Terracotta calyx-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: Overall: 14 1/4 x 14in. (36.2 x 35.5cm). Date: ca. 440 B.C..Above, obverse, Odysseus pursuing Circe; reverse, women and kingBelow, obverse, man between women; reverse, youth and womenThe primary and most interesting scene on this two-row krater shows Odysseus pursuing the enchantress Circe. In the air between them are Circe's magic wand and the skyphos (deep drinking cup) that contains the potion with which she transforms men into animals. Behind Odysseus, two of his men with features of a boar and a horse or mule gesticulate toward him. The pursuit may also be mythological. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta Panathenaic prize amphora ca. 525-500 B.C. Attributed to the Kleophrades Painter Obverse, AthenaReverse, chariot raceIn addition to stylistic criteria, the device of a flying horse on Athena's shield suggests an attribution to the Kleophrades Painter. The motif seems particularly appropriate here because the artist conveys the speed of the chariot by the position of the horses who appear to be flying over the ground.. Terracotta Panathenaic prize amphora. Greek, Attic. ca. 525-500 B.C.. Terracotta; black-figure. Archaic. Vases

Attic amphora red-figure by Peleo painter, 440-430 b.C. from Trebbia Valley showing departure of warriors. Museum: ARCHAEOLOGICAL MUSEUM, FERRARA, ITALIA.

Pelike depicting Heracles killing Busiris and his servants. 480 BC. Red-figure. Found in Thespiae. Archaeological Museum. Athens. Greece.

Attic Black-Figure Olpe. Attributed to Chiusi Painter (Greek, active 520 - 510 B.C.)

Euphronios krater depicting musicians

Aryballos Shaped Lekythos

Terracotta volute-krater (mixing bowl) ca. 330-310 B.C. Attributed to the Baltimore Painter Obverse: the Judgment of Paris. The Trojan prince is seated in the center, dressed in Eastern garb. He listens to Hermes, standing to his right, who has brought the three goddesses to him to be judged. Aphrodite, accompanied by Eros is in the upper left, seated beside a large box, holding a wreath and a mirror. Hera, holding her scepter is seated in the upper right on a rock. Athena, directly below Paris, is also seated, leaning on her shield, wearing her helmet and holding a large phiale. Athena is attended by two youths, who, like Paris, are in Eastern costume. In the same register, at the extreme left, a young Pan, leaning on a rock, observes the scene. On the neck: frontal head of a woman wearing a Phrygian cap emerging from a blossom, surrounded by flowers and tendrils. On the handles, in relief, heads of Io with blonde hair. Reverse: naiskos with a statue of the deceased woman holding a wr

Black-figure pottery, Attic amphora depicting Achilles and Ajax playing dice

Cup with a Woman Drinking in a Storeroom; Athens, Greece; about 470 - 460 B.C; Terracotta; 15.3 × 27.5 × 17.9 cm (6 × 10 13,16 × 7 1,16 in.)

Fragmentary Attic Red-Figure Calyx Krater. Attributed to Syleus Painter (Greek (Attic), active 490 - 470 B.C.)

Attic Black-Figure Lekythos. Attributed to Leagros Group (Greek (Attic), active 525 - 500 B.C.)

Terracotta miniature Panathenaic amphora. Culture: Greek, Attic. Dimensions: H.: 3 5/16 in. (8.4 cm). Date: ca. 400 B.C..Obverse, Athena Reverse, seated athleteThe Bulas Group specialized in miniature versions of Panathenaic prize amphorae. The shape and the representation of Athena follow the models quite closely. The seated athlete holding what might be a fillet is a narrative vignette that would not have appeared on a prize vase. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta lekythos (oil flask) ca. 460-450 B.C. Attributed to the Oionokles Painter Youth advancing with drawn swordThis bold youth has wrapped his cloak entirely around his outstretched left arm as he advances, ready to thrust with his sword, in the pose made famous by the statue of Aristogeiton, one of the slayers of the tyrant Hipparchos.. Terracotta lekythos (oil flask). Greek, Attic. ca. 460-450 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta calyx-krater (bowl for mixing wine and water). Culture: Greek, Boeotian. Dimensions: H. 10 1/2 in. (26.7 cm); diameter 9 11/16 in. (24.6 cm). Date: early 4th century B.C..Obverse and reverse, quadriga (four-horse chariot)The scenes are excerpts from the myth of the Judgment of Paris. Unusually, they show two of the goddesses arriving for the event. One of the ladies is clearly identifiable as Athena. Museum: Metropolitan Museum of Art, New York, USA.

Attic Red-Figure Neck Amphora with Double Handles. Attributed to Berlin Painter (Greek (Attic), active about 500 - about 460 B.C.)

Lekythos showingBoreas. Artist: Providence Painter, Greek, Attic, ca. 500-475 B.C.

Terracotta stamnos (jar) Attributed to the Deepdene Painter ca. 470-460 BCE Obverse, warrior arming, possibly AchillesReverse, Menelaos reclaiming his wife, HelenThe subject matter of the obverse is indicated by the woman who is handing the warrior his armor. In Homer's Iliad, Thetis, the mother of Achilles, replaces the original armor that Achilles gave to his friend Patroklos. This side probably depicts the principal Greek hero of the Trojan War, while the other indicates the cause of the war, the desire of Menelaos, the king of Sparta, to reclaim his wife from Paris, the Trojan prince. The fluid execution of the figures is complemented by the superb handle ornaments.

Terracotta pelike (jar). Culture: Greek, Attic. Dimensions: 13 11/16in. (34.8cm). Date: ca. 460-450 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

KADMOS PAINTER (5th c. BC). Theseus at the bottom of the sea. 5th c. BC. Red-figured krater. Classical Greek art. Ceramics. ITALY. EMILIA-ROMAGNA. Bologna. Civic Archaeological Museum.

Terracotta lekythos (oil flask). Culture: Greek, Attic. Dimensions: H. 5 3/16 in. (13.1 cm). Date: 2nd quarter of 5th century B.C..Woman seated before kalathos (wool basket)The painter here has carefully rendered the wool filling the kalathos. A mirror hangs above. Museum: Metropolitan Museum of Art, New York, USA.

Apulian Column Krater.

Lekythos decorated with a painted chariot. 6th c.BC. Black-figure ceramics. Archaic Greek art. Ceramics. SPAIN. CATALONIA. BARCELONA. Barcelona. Archaeology Museum of Catalonia. Proc: SPAIN. CATALONIA. GERONA. L'Escala. Empœries.

Neck-amphora ca. 520-510 B.C. Attributed to the Pasikles Painter. Neck-amphora. Greek, Attic. ca. 520-510 B.C.. Terracotta; black-figure. Archaic. Vases

Black-Figure Amphora. Attributed to Painter of Acropolis 606 (Greek (Attic), active 570 - 560 B.C.)

Amphora by the Micali Painter, side A. Black-figure pottery from Vulci (Lazio). Etruscan Civilisation, 6th Century BC.

fine arts, ancient world, Greece, ceramics, archaic period (700 - 480 BC), Attic amphora, black figures, fighting hoplites, circa 530 BC, Antikensammlung M™nchen

Hydria czerwonofigurowa ze sceną walki. Grupa Laghetto-Caivano (ca 340-320 p.n.e.), Malarz Pojedynków (340-330 a.C.), author

Terracotta globular cup ca. 520-510 B.C. Attributed to the Tityos Painter Male and female figures flanked by heraldic lionsThe subject of this vase is unusual: a male figure wearing winged boots and holding a bow and an axe pursues a woman carrying a bow. Do the figures represent divine characters, perhaps Apulu (Apollo) and his twin sister Artumes (Artemis) The bow is a typical attribute of both these deities, and winged boots often signify a divine or supernatural being in Etruscan art.. Terracotta globular cup 247218

Terracotta bell-krater (mixing bowl) ca. 380-360 B.C. Connected in style with the Painter of the Long Overfalls Obverse, satyr and maenad. Reverse, two youthsThe representation is interesting because the maenad, asleep in an outdoor setting, recalls the pose of Ariadne when she was found on the island of Naxos by the wine god Dionysos; she had been abandoned there by Theseus. The iconography of an "elevated" mythological subject has been applied to members of Dionysos' retinue.. Terracotta bell-krater (mixing bowl). Greek, South Italian, Apulian. ca. 380-360 B.C.. Terracotta; red-figure. Late Classical. Vases

the hero and the goddess the hero and the goddess, bell crater from the funerary chamber of Prince Iltirtiiltir, 4th century BC, necropolis of Piquia, Arjona, Iberian culture, Iberian Museum of Jaén, Andalusia, Spain Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 21714829

Black-Figure Amphora, Type B, with (A) a Marriage Procession and (B) a Woman Escorted by Two Warriors (The Recovery of Helen by Menelaos). Painter of Vatican Mourner (attributed to the). Greece, Attica, circa 540-520 B.C.. Furnishings; Serviceware. Ceramic

Fragmentary Skyphos.

Terracotta column-krater (vase for mixing wine and water) ca. 460 B.C. Attributed to the Boreas Painter Obverse, Zeus pursuing AeginaReverse, man with staff and three womenThe myth of Zeus and Aegina is rarely represented. Aegina was a nymph whom Zeus carried off to the island that came to bear her name. With economical means, the painter successfully characterizes each of the figures in the scene.. Terracotta column-krater (vase for mixing wine and water). Greek, Attic. ca. 460 B.C.. Terracotta; red-figure. Classical. Vases

Attic White-Ground Lekythos. Unknown

Terracotta lekythos (oil flask). Culture: Greek, Attic. Dimensions: H. 13 9/16 in. (34.4 cm); diameter 4 1/8 in. (10.5 cm). Date: ca. 460-450 B.C..Poseidon pursuing womanPoseidon's identity is established by his very businesslike trident, which occupies the center of the vase. The seriousness of his pursuit is indicated by the way in which his hand grasps the woman's wrist. This is a traditional gesture of possession and, again, it is given prominence in the composition. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta stamnos ca. 470-460 B.C. Attributed to the Deepdene Painter Obverse, Eos, Kephalos and old man; reverse, youth with spear and two women conversing.. Terracotta stamnos. Greek, Attic. ca. 470-460 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta neck-amphora (jar) with Herakles and a bull. Culture: Greek, Attic. Dimensions: H. 15 5/8 in. (39.8 cm).Diameter 10 5/8 in. (27 cm). Date: ca. 520-510 B.C..Both sides illustrate the same scene. Herakles, having forced the Cretan bull down on one knee, tightens a rope that binds the animal around its horns, left hind leg, and testicles. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta amphora (jar) ca. 530-520 B.C. Attributed to the manner of the Antimenes Painter Obverse, Athena mounting her chariot, with Herakles and godsReverse, Herakles and the Nemean lionThe obverse depicts the introduction of Herakles into Mount Olympos. He is accompanied by Athena, his protectress, Apollo, Dionysos, and Leto; the names are inscribed.. Terracotta amphora (jar) 250545 : Attributed to the manner of the Antimenes Painter, Terracotta amphora (jar), ca. 530520 B.C., Terracotta, H. 24 1/2 in. (62.2 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1917 (17.230.7)

Cerámica de figuras rojas. Museo Arqueológico Nacional de Atenas.

Terracotta neck-amphora (storage jar). Culture: Greek, Euboean. Dimensions: H.: 12 3/8 in. (31.4 cm). Date: ca. 560 B.C..On one side, two men stand between roosters; one holds a kerykeion, a staff terminating in a caduceus, which identifies him as an official herald or envoy sent from one Greek city to another. On the other side, a herald stands between sirens. Museum: Metropolitan Museum of Art, New York, USA.

Black-figure ceramics with vendor of oil. Classical Greek art. Ceramics.

Lekythos black-figure with scenes of Centauromachy. Late 6th century and first half of 5th century BC. Olympia Archaeological Museum. Ilia Province. Peloponnese region. Greece.

The Crater of the Persians, by workshop Pittore di Dario, 4th Century, Apulian pottery. Italy: Campania: Naples: National Archaeological Museum. Whole artwork. Attic crater with handles and red figures red black vase handles gorgoneion decoration scene Persian Wars figures men women

RECIPIENTE OVOIDE EN BARRO COCIDO. CULTURA GERZIENSE 3400 A.C. Location: EGYPTIAN MUSEUM. KAIRO. EGYPT.

Dionysus with his mother Semele with a crown of ivy among vines and Silenus harvesting. Cup made in Athens. From Santa Maria Capua Vetere. Painter of Kallis. 560-540 BC. Pottery. National Archaeological Museum. Naples. Italy.

Attic Red-Figure Oinochoe, Shape 4. Unknown

Greek vase painting depicting Cadmus fighting the serpent, 4th century BC. Artist: Unknown

Campania Salerno Padula Museo Archeologico della Lucania Occidentale6. Hutzel, Max 1960-1990 Antiquities: There are views of Ardean artifacts, including artefixes. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Attic Black-Figure Oinochoe (Shape 1); Class of Louvre F348, or Keyside Class; Athens, Greece, Europe; about 490 B.C; Terracotta; 10.7 cm (4 3,16 in.)

Attic Red-Figure Stamnos. Tyszkiewicz Painter (Greek (Attic))

Mayan ceramic vase depicting a banquet of nobles at a royal palace. Mexico 600-900 AD

Terracotta neck-amphora (jar). Culture: Greek, Attic. Dimensions: H. 12 15/16 in. (32.8 cm)diameter 7 1/4 in. (18.4 cm). Date: ca. 510-500 B.C..Obverse, the centaur Pholos and Herakles between Iolaos and Hermes.Reverse, revellers. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta kylix (drinking cup) ca. 490 B.C. Signed by Euphronios Interior, Herakles and young boyExterior, Herakles fighting the sons of Eurytos; Herakles fighting OpsEuphronios is probably the best known of the early red-figure artists called the Pioneers. During the latter part of his career, he signs as potter rather than painter, and he collaborates with various painters of whom Onesimos is one of the most accomplished. The representation on the interior shows the almost coloristic effects that Onesimos achieved with dilute glaze as well as his marvelous characterization of Heraklesyoung, wide-eyed, jaunty, and finely turned out.. Terracotta kylix (drinking cup). Greek, Attic. ca. 490 B.C.. Terracotta; red-figure. Late Archaic. Vases

Athena fighting between Hector and Achilles. 6th c. BC. Attic black-figure kylix. Archaic Greek art. Ceramics. SPAIN. CATALONIA. BARCELONA. Barcelona. Archaeology Museum of Catalonia.

Terracotta alabastron (perfume vase). Culture: Etruscan. Dimensions: H. 7 1/8 in. (18.1 cm). Date: 6th century B.C..Upper frieze, Herakles and centaursLower frieze, flutist leading procession of womenThe upper frieze, depicting Herakles in the company of three centaurs, is perhaps a reference to the story of the Greek hero's battle with Pholos and his fellow centaurs. The scene below has no obvious narrative connection to that one. This shape, frequently made of alabaster and copied by Corinthian potters, is rare with Etruscan potters working in Southern Etruria. Museum: Metropolitan Museum of Art, New York, USA.

Krater by the Painter of Rosettes, view of side showing human figures, Etruscan-Corinthian pottery from Cerveteri. Etruscan Civilization, 580-560 BC.

Terracotta oinochoe (jug) ca. 440 B.C. Attributed to the Mannheim Painter Three AmazonsThe Amazons on this splendid oinochoe are all named. Iole leads; she is equipped with a pelta (crescent-shaped shield), a bow and quiver, and a battle-ax. Antiope, facing forward, leads a horse and holds two spears. Penthesilea follows with a pelta, a bow and quiver, and spears. Antiope and Penthesilea were well known for their part in the lives of Theseus and Achilles, respectively. Throughout Greek art, in depictions of combat between Greeks and their enemies, the latter are always rendered as worthy antagonists. This perception applies particularly to Amazons.. Terracotta oinochoe (jug). Greek, Attic. ca. 440 B.C.. Terracotta; red-figure. Classical. Vases

Black-figure Lekythos with Herakles andAmazons

Attic pelike depicting Phrixus rescued by a flying ram with golden sheep fleece, red-figure pottery

Krater of the Warriors depicting a woman goodbying six warriors. Dated between 1200-1100 B.C. Mycenae. National Archaeological Museum. Athens. Greece.

White-Ground Lekythos.

Lazio Roma Cerveteri Museo Nazionale Cerite9. Hutzel, Max 1960-1990 Antiquities: General views of museum interior and collection of ancient funerary items. Most prints are of terracotta vessels. Some headless statues and a detail of two heads and an antefix. (9th to 1st century B.C.) German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Europe, Italy. Sack of Troy, Krater. Apulian. 380 BC. Krater apulian. Iliupersis painter

Vessel used to drink cacao. It was drunk in cylindrical, narrow and tall ceramic vessels. Maya culture. Late classical (600-900 AD). Guatemala. Ceramics. Museum of the Americas. Madrid, Spain.

Detail of Black-figure amphora depicting bulls, painted by Paris Painter, 550/540 B.C.

Pilgrim Flask 701 CE-750 CE China. Trans-Asiatic trade expanded the Chinese repertoire of simple, wheel-thrown clay shapes to include composite forms pressed in molds. This pilgrim flaskóa vessel shape that may imitate forms originally made in glass, leather, or metalwork ódepicts a young boy adorned with a billowing scarf, who dances with a lion. Although similar images can be traced back to Hellenistic Greece (c. 300-200 B.C.), the extent of such Classical influence on the much later art of Tang dynasty China has yet to be determined.This vessel displays a fluid ìthree-colorî (sancai) glaze, named after the archetypical combination of bright green, amber, and white (transparent) lead-rich glazes that have been colored with carefully measured recipes of metallic oxides. The green derives from copper and the amber from iron.. Earthenware with three-color (sancai) lead glazes .

Paestan Black-Figure Lekythos. Unknown

Terracotta kylix (drinking cup) ca. 570-560 B.C. Attributed to the Boreads Painter Interior, the apotheosis of HeraklesThe scene on the interior shows Athena leading Herakles to the enthroned Zeus. A boar occupies the exergue below.. Terracotta kylix (drinking cup). Greek, Laconian. ca. 570-560 B.C.. Terracotta. Archaic. Vases

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia33. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Bell-Krater with an Elderly Satyr Followed by Young Dionysos. Attributed to Python (Greece, South Italian, Paestan, active mid 4th century B.C.). South Italy, Paestum, circa 350-325 B.C.. Furnishings; Serviceware. Red-figure ceramic with red, yellow, and white paint, and brown wash

Codex-Style Vase with Mythological Scene. Culture: Maya. Dimensions: H. 7 1/2 × Diam. 4 7/16 × Circum. 13 7/16 in. (19 × 11.2 × 34.2 cm). Date: ca. 7th or 8th century.This detailed scene, created by one of the finest artists of the Classic Maya period (ca. 250-900), illuminates the lives of the gods and their role in the continuation of the world. The inscription below the rim refers to "raising" the "drinking cup" in an act of dedication and to the vessel's owner as a "striker." The striker may be the elderly rain god Chahk, who wields a ceremonial axe in his left hand and places his right hand on a stone temple or palace that he has split open. The rain god cracking the roof of a structure, allowing the maize god to come to life, illustrates Maya myths about rain and agricultural cycles. To the right of the rain god, a serpent exits the structure and another elderly god issues from the serpent's maw. This aged deity may represent the thunder god. Raindrops--shown as pairs or in thre

Amphora (Storage Jar) 340 BCE-330 BCE Campania. One of the first objects to enter the Art Instituteís collection, this amphora represents changes in conservation practices across different centuries. Before it was acquired by the museum in the 19th century, the vessel had broken and been repaired. The staples that hold the foot together are from this early restoration. Some fragments were missing, including important parts of the figural scene depicting the battle between the Greeks and the Amazons. Because filling in these areas would require imaginative reconstruction, these areas of loss were not restored. The lower decorative band, a uniform key pattern, was restored. 20th-century restoration with matte black plaster indicates areas of loss in the band. The fragments of this amphora were reassembled in an earlier century using pieces of other ceramic vessels, but this amphora was left intact by conservators.. terracotta, decorated in the red-figure technique . Ixion Painter

Polychrome amphora by the Painter of the Cappi, detail showing a panther and the horse. Etrusco-Corinthian pottery from Tarquinia (Lazio). Etruscan Civilisation, 7th Century BC.

Lécythe in clay with black figures (from the front) of the Hoplite painter. Ancient Greece. 6th century BC. Museum of Fine Arts of the City of Paris, Petit Palais. 33967-8 Clay, shield, bronze, black figure, face, archaic Greece, warrior, lecythe, ancient art object, dishes

Terracotta amphora (jug). Culture: Roman. Dimensions: H. 10 3/8 in. (26.4 cm). Date: 2nd-3rd century A.D..This vessel was made at Cnidus, a trading and manufacturing port in Caria (southwestern Turkey), famed for its statue of Aphrodite by the Greek sculptor Praxiteles. The relief decoration shows the god Dionysus on one side and Pan with a dancing nymph on the other. Similar scenes can also be found on much grander examples of Roman art, such as mosaics and marble sarcophagi. Museum: Metropolitan Museum of Art, New York, USA.

Lekythos ca. 460-450 B.C. Attributed to the Carlsruhe Painter Artemis with bow and quiver.. Lekythos. Greek, Attic. ca. 460-450 B.C.. Terracotta; red-figure. Classical. Vases

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