Ancient Greek Pottery

Collection of ancient Greek pottery including amphorae and hydria showcasing mythological themes and daily life scenes, featuring black-figure and red-figure techniques.

Greek art. Spain. Pelike. Ceramic piece 4th century century. From Empuries. Alt Emporda. Catalonia. Spain. Archaeological Museum of Girona. Catalonia. Spain.

Attic Panathenaic Amphora. Attributed to Kleophrades Painter (Greek (Attic), active 505 - 475 B.C.)

Attic stamnos (type of pottery used to store liquids) representing Dionysus cult

Terracotta hydria (water jar) ca. 510-500 B.C. Attributed to the Class of Hamburg 1917.477 Women at fountain houseOn the shoulder, combatAmong the many changes brought to the city of Athens bythe ruler Peisistratos and his sons was an improved watersystem and new public fountains. During the latter part ofthe sixth century B.C., scenes of women at a fountain housebecame very popular on black-figure vases. Here womengather to chat and to fill their hydriai.. Terracotta hydria (water jar). Greek, Attic. ca. 510-500 B.C.. Terracotta; black-figure. Archaic. Vases

Greek art. Spain. Pelike. Ceramic piece 4th century century. From Empuries. Alt Emporda. Catalonia. Spain. Archaeological Museum of Girona. Catalonia. Spain.

Terracotta bell-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: Height: 13 3/4in. (34.9cm), Diam.: 14 3/8 in. (36.5 cm). Date: late 5th century B.C.-early 4th century B.C..Obverse, Ariadne and two satyrsReverse, three youthsAriadne is often recognizable through her recumbent position. She was asleep when Theseus abandoned her on the island of Naxos. And she is often depicted as reclining with Dionysos. The presence of two satyrs indicates her identity here. She reclines under a vine arbor, another reminder of Dionysos. It is interesting that one of the satyrs carries a torch, suggesting a night scene. The other holds a lyre, which may refer to the theater. Museum: Metropolitan Museum of Art, New York, USA.

Pelike (Boreas abducts oritethyia). The pelike is composed of numerous fragments. Foot and lower part of the vascular body are complemented. On both sides is a bar with round, circumscribed palmettes. Under the figures, a meandering belt runs around regularly scattered cross plates. On page A, the persecution of the orithyia is shown by the wind god Boreas. The winged and bearded Borea hurries from the left and has laid his left arm around the shoulder of the Athenian royal daughter, holding two spears with red throwing loops. Borea wears a fox fur hat (Giech. Alopekis), a short, braided chiton and a patterned coat. Oreithyia is dressed with a long-sleeved chiton and a diadem in her hair; She also carries jewelry around arms and neck. In the facial features of the Königstanz, no signs of horror or anxiety are read the main group is flanked by two figures, which both strive outward. Right the Geures Father Oritethyias, the Athenian King Erechheus. On the left a companion of the oride-ty

Terracotta oinochoe: chous (jug) ca. 420 B.C. Greek, Attic Three komasts (revelers)The torch held by the figure at right and the jug brandished by the one in the center indicate that the men are "on the town." The shape of the vase situates their spree during the festival of the Anthesteria, devoted to Dionysos, the god of wine.. Terracotta oinochoe: chous (jug) 253540 Greek, Attic, Terracotta oinochoe: chous (jug), ca. 420 B.C., Terracotta, H. 8 11/16 in. (22.1 cm). The Metropolitan Museum of Art, New York. Fletcher Fund, 1937 (37.11.21)

Terracotta oinochoe: chous (jug). Culture: Greek, Attic. Dimensions: H. 9 3/8 in. (23.8 cm)diameter 7 1/16 in. (17.9 cm). Date: ca. 490-480 B.C..Youth playing lyre and boy listeningThe chous (pl. choes) served to take wine from a krater and poured into a drinking cup. It was also the shape associated with the Dionysiac festival called the Anthesteria in which the new wine was celebrated. Children were a major part of the festivities, and a large number of choes depict them. While this vase need not be directly connected with the festival, the combination of shape and subject certainly evokes it. Museum: Metropolitan Museum of Art, New York, USA.

Krater czerwonofigurowy wolutowy. nieznany warsztat tarentyjski, Malarz Syzyfa (ok. 410 p.n.e.), author

Terracotta lekythos (oil flask) ca. 550-530 B.C. Attributed to the Amasis Painter On the shoulder, a seated woman, perhaps a goddess, is approached by four youths and eight dancing maidensOn the body, women are making woolen cloth.One of the most important responsibilities of women was the preparation of wool and the weaving of cloth. Here, in the center, two women work at an upright loom. To the right, three women weigh wool. Farther to the right, four women spin wool into yarn, while between them finished cloth is being folded. Listen to experts illuminate this artwork's story Listen Play or pause #1015. Terracotta lekythos (oil flask) Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. Terracotta lekythos (oil flask). Greek, Attic. ca. 550-530 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta amphora (jar). Culture: Greek, Attic. Dimensions: H. 16 5/16 in. (41.5 cm)diameter of mouth 6 15/16 in. (17.7 cm)diameter of foot 5 7/16 in. (13.8 cm). Date: ca. 530 B.C..Obverse, combat between two warriorsReverse, Dionysos, the god of wine, between two satyrsThe Lysippides Painter was a follower of Exekias who specialized in large pots. At the end of the sixth century B.C., such pieces tended to show few figures starkly presented or crowded scenes with complex groupings. The combat here epitomizes the capacity of Greek art to depict the essentials so that a scene remains forceful and meaningful for all time. Museum: Metropolitan Museum of Art, New York, USA.

Lekythos 2nd quarter of 5th century B.C. Greek, Attic. Lekythos. Greek, Attic. 2nd quarter of 5th century B.C.. Terracotta; red-figure. Classical. Vases

Hydria czerwonofigurowa z przedstawieniem Zeusa na tronie z berłem i paterą, Nike z wieńcem laurowym i Ateny z oinochoe. Malarz Providence (ok. 470-460 p.n.e.), author

Terracotta stamnos (jar) ca. 490 B.C. Attributed to the Berlin Painter Obverse, Athena between Hera and ZeusReverse, warrior leaving homeThe feature common to both sides of this stamnos is the offering of a libation. On the obverse, Athena holds an oinochoe (jug) as Zeus and Hera proffer phialai (libation bowls) to be filled. On the reverse, a young warrior stands between a seated man and a standing woman who holds an oinochoe and a phiale. The libation is poured when the warrior departs in order to insure his safe return. This combination of scenes provides a remarkably graphic illustration of the ancient Athenians' sense that a communality in belief and practice existed between the mortal and divine worlds.. Terracotta stamnos (jar) 255899

Terracotta kylix (drinking cup). Culture: Greek, Attic. Dimensions: H. 4 7/8 in. (12.4 cm)diameter 10 1/8 in. (25.7 cm). Date: ca. 540 B.C..Obverse, Poseidon, the god of the seas, among Greek warriorsReverse, the stables of PoseidonThe subjects are drawn from book 13 of Homer's Iliad. Poseidon, seeing the Greeks hard-pressed, decided to help renew their valor. At his underwater palace, he ordered his chariot prepared so that he could ride to their aid. On one side of this cup, an atmosphere of feverish excitement reigns in the stables as grooms attempt to soothe four high-strung horses tethered to columns. Supernatural forces seem to have been unleashed: tiny figures race over the horses' backs and swing down from the architectural frieze above. On the other side of the cup, Poseidon, carrying a trident, urges on the Greek heroes. Museum: Metropolitan Museum of Art, New York, USA.

Amphora of red -ande -figure with Nike from Kithar and a young man; Oionocles painter; around 470 BC (-475-00-00--465-00-00);

Terracotta skyphos (deep drinking cup). Culture: Greek, South Italian, Campanian. Dimensions: H. 12 3/4 in. (32.4 cm). Date: ca. 330-300 B.C..Obverse, seated youth betwen two women Reverse, three youthsThe APZ Painter's style reflects the influence of Apulian workshops during the last phases of Campanian vase-painting in Cumae. The innovations include new filling ornaments such as rosettes, details in the treatment of drapery, and greater polychromy. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta calyx-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: H. 21 15/16 in. (55.8 cm)diameter 22 15/16 in. (58.3 cm). Date: ca. 460-450 B.C..Obverse and reverse, Amazonomachy (battle between Greeks and Amazons)The number of figures and the complexity of poses here reflect an innovation that entered vase-painting about the middle of the fifth century B.C. and is generally attributed to the influence of monumental wall-painting. The frontal mounted Amazon in the middle of the composition, her falling comrade to the left, and the overlapping of figures, shields, and weapons dramatically convey the tumult of battle. At the same time, the many spatial planes strain the implicitly shallow stage provided by the black background of a vase. The fundamental incompatibility between naturalistic representation and the expressive possibilities offered by vase-painting led to the latter's demise--although that would come only at the end of the fourth century B.C.

Terracotta bell-krater (mixing bowl). Culture: Greek, South Italian, Paestan. Dimensions: H. 14 5/8 in. (37.1 cm). Date: ca. 360-350 B.C..Obverse, Dionysos and satyr. Reverse, two youthsAsteas was the leading painter of Paestan vases, with a considerable production and workshop. This early work depicts the wine-god Dionysos and a satyr who precedes him holding a kantharos (drinking cup) and a torch, now mostly lost. The satyr is human except for his ears, and the whole composition distantly echoes that of the famous statue group of the Tyrannicides. Museum: Metropolitan Museum of Art, New York, USA.

Vase Greek Art

Theseus and the Minotaur. 6th c. BC. Attic black-figure amphora. Archaic Greek art. Ceramics. ITALY. LAZIO. Rome. Capitoline Museums.

Red figure wine-cup (skyphos) depicting a giant building, the Acropolis walls under Athena's guidance, attributed to the Penelope Painter (circa 450-425 B.C.)

Red-Figure Lekythos (Oil Vessel): Athena Slaying Giant (body); Satyr between Maenads (shoulder), c. 490 BC. Shoulder attributed to Berlin Painter (Greek, Attic, active c. 505-460 BC), body attributed to Painter of Goluchow 37 (Greek, Attic, active c. 490-460 BC). Ceramic; diameter: 14.1 cm (5 9/16 in.); diameter of mouth: 8.7 cm (3 7/16 in.); overall: 38 cm (14 15/16 in.); diameter of foot: 10 cm (3 15/16 in.).

Terracotta volute-krater (bowl for mixing wine and water) ca. 500 B.C. Attributed to the Karkinos Painter Obverse, the abduction of Antiope by TheseusReverse, Amazons riding upIn its mythological beginnings, Athens was attacked by the Amazons, warrior women whose homeland lay to the north and east of the Black Sea. The incursion was repulsed, and Theseus, the ruler of Athens, took Antiope, the Amazon queen, as his wife. Of special interest on the obverse is the shield device of a flute-playing crab. The motif plays on the name of a famous flute-player in late-sixth century B.C. Athens, Karkinos, crab. The device occurs again on the reverse of the calyx-krater by Euphronios and Euxitheos (1972.11.10) exhibited in the Greek galleries on the main floor.. Terracotta volute-krater (bowl for mixing wine and water) 255014

Terracotta lebes gamikos (round-bottomed bowl with handles and stand used in weddings) ca. 420 B.C. Attributed to the Naples Painter Obverse, seated woman with two women and youthReverse, two womenAt each handle, NikeThe scene shows preparations for a wedding. The seated bride, who holds a mirror, is flanked by attendants holding a dinos (deep bowl), probably of bronze, and a casket. The youth at the right might be the groom.. Terracotta lebes gamikos (round-bottomed bowl with handles and stand used in weddings). Greek, Attic. ca. 420 B.C.. Terracotta; red-figure. Classical. Vases

Krater by the Micali Painter. Black-figure pottery. Etruscan Civilisation, 6th Century BC.

Terracotta oinochoe: chous (jug) ca. 450 B.C. Attributed to the Niobid Painter Komast (reveler) and dancing dwarfThis representation is noteworthy for the characterization of the two figures. The tall komast advances deliberately, playing the barbitos, a form of lyre. His head is wreathed, his cloak and a chous are slung over one shoulder, and he wears soft, high boots. The dwarf before him presents a considerable contrast with his jerky movements, nudity, pugnacious expression, and straggly beard.. Terracotta oinochoe: chous (jug) 255771

Terracotta alabastron (perfume vase) ca. 440-430 B.C. Greek, Attic Two womenThe women are shown in the domestic quarters, indicated by the casket and the kalathos (wool basket) between them. This is a simple object but just what an Athenian woman would have used in life and received as an offering in her grave.. Terracotta alabastron (perfume vase). Greek, Attic. ca. 440-430 B.C.. Terracotta; red-figure, white-ground. Classical. Vases

Terracotta stamnos ca. 375 B.C. Attributed to the Fluid Group Obverse and reverse, woman walking.. Terracotta stamnos 245598

Apulian Red-Figure Bell Krater. Attributed to the Circle of the Patera Painter (Greek (Apulian))

Skyron group. Lébès Gamikos. Red figures. Apulie (Italy), around 400 BC. AD Museum of Fine Arts of the City of Paris, Petit Palais. 58659-11 Ance, antiquity, ceramic, nuptial ceremony, lid, red figure, 4th 4th 4th 4th 4th 4th century AV.JC, Lebes gamikos, Lebes nuptial, nuptial libation, marriage, decorative, nuptial, offering, wing, container, representation character. , Ancient vase, 5th 5th 5th 5th century AV.JC

Terracotta column-krater (bowl for mixing wine and water) ca. 480 B.C. Attributed to Myson Obverse, youth with amphora (jar) and kylix (drinking cup)Reverse, youth with skyphos (deep drinking cup) and fillet (band)The artistic personality of Myson is particularly apparent in the decoration of the vase. He refers to the past in the black-figure ornament on the obverse of the neck and in the slow motion of his figures. Modern and strikingly effective is his deployment of the revelers against the black-glaze background; their poses and the articulation of the forms appear to fullest advantage.. Terracotta column-krater (bowl for mixing wine and water) 251106 : Attributed to Myson, Terracotta column-krater (bowl for mixing wine and water), ca. 480 B.C., Terracotta, H. 15 1/8 in. (38.4 cm) diameter of mouth 12 1/16 in. (30.6 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1921 (21.88.82)

Lucanian Pelike. Unknown

Terracotta oinochoe: chous (jug). Culture: Greek, Attic. Dimensions: H.: 8 7/8 in. (22.5 cm). Date: ca. 430-420 B.C..Dionysos and a satyrThe artist has produced a noteworthy juxtaposition here between Dionysos, wholly wrapped in a chiton and himation, and the nude, balding satyr who brandishes a torch and carries a pack or sack on his back. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta hydria (water jar) ca. 560-550 B.C. Greek, Attic On the body, Herakles wrestling TritonOn the shoulder, Achilles pursuing TroilosHerakles wrestling Triton is a recurrent subject, especially on hydriai and neck-amphorae of the second half of the sixth century B.C. No surviving ancient source spells out the story. Its popularity on hydriai is due partly to Triton's being a marine creature and partly to interest in the exploits of Herakles. The pursuit of Troilos is pertinent because, as he fled, his sister Polyxena dropped the hydria in which she was carrying water from the fountain house.. Terracotta hydria (water jar). Greek, Attic. ca. 560-550 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta skyphos (deep drinking cup) mid-4th century B.C. Closely related to the Vine Tendril Group Obverse, reclining man and three crones (the Judgment of Paris) Reverse, ogress pursuing three pygmiesThe Kabirion is a sanctuary on the outskirts of Thebes in Boeotia dedicated to the Kabiroi, deities associated with fertility and the sea. Their cult included mysteries whose introduction is ascribed to the goddess Demeter. A distinctive variety of pottery, known as Cabiric vases, was produced from the late fifth through the late fourth century B.C. This example is characteristic in shape, subject, and technique. Such works may reflect farces performed in conjunction with the mysteries. They are contemporary with representations of Middle Comedy and the phlyax vases.. Terracotta skyphos (deep drinking cup) 255313

Apulian Red-Figure Bell Krater. Attributed to the Adolphseck Painter

Hydria (Water Jar). Greek; Athens; Attributed to The Leningrad Painter. Date: 470 BC-460 BC. Dimensions: 42.4 × 37.6 × 31.8 cm (16 3/4 × 14 3/4 × 12 1/2 in.). Terra-cotta, decorated in the red-figure technique. Origin: Athens. Museum: The Chicago Art Institute, USA.

Red figured lebes gamikos with lid decorated with a woman. 4th century BC. From Magna Graecia. Parfum Museum. Barcelona. Catalonia. Spain.

Greek civilization, Red-figure pottery, Attic skyphos signed by potter Hieron and attributed to Makron, side B with Embassy to Achilles

Terracotta neck-amphora (jar) with twisted handles. Culture: Greek, Attic. Dimensions: H. 24 1/8 in. (61.3 cm)diameter 12 in. (30.5 cm). Date: ca. 440 B.C..Obverse, Neoptolemos departingReverse, man and two womenThe magnificent decoration here depicts the departure of a warrior for combat; every figure is identified by name. Kalliope, the woman with the oinochoe (jug) and phiale (libation bowl), and Antimachos, the man holding the shield and helmet, define the immediate subject. At the same time, the seated man, Antiochos, who clasps his son's hand, and the general tenor of the representation have direct counterparts on grave stelai. The funerary overtones are emphasized by the palmette on the neck--equivalent to the palmette finials on marble stelai. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta pelike (jar). Culture: Greek, Attic. Dimensions: H. 10 7/8 in. (27.6 cm)diameter 8 3/8 in. (21.3 cm). Date: ca. 480-470 B.C..Obverse, woman with mirror and wool basketReverse, youthA major task of Athenian women was to weave. The wool basket at this lady's feet, her garments that are given prominence by her pose, as well as the mirror in which she is admiring herself suggest her proficiency. Weaving the peplos that was dedicated to Athena every four years was a major enterprise. We may imagine that a woman such as the one on the pelike was involved. Museum: Metropolitan Museum of Art, New York, USA.

Red-figure pottery, Cinerary krater with Dionysiac procession from Carmignano, Prato

Apulian red-figured bell-shaped situla, by Ganymede Painter, IV Century, 340-320, cm 21 diamentroorlo 16.2 cm, piede 10 cm

Attic Black-Figure Amphora Type B.

Attic Black-Figure Olpe; Chiusi Painter, Greek, active 520 - 510 B.C.; Athens, Greece, Europe; about 520 - 510 B.C.; Terracotta; Object: H: 14 cm (5 1/2 in.)

Herakles Hercules and the Hydra of Lerna. Amphora by Diosphos, 500 BC. Greek vase painting.

Stamnos (liquid storing vessel) depicting a horseman. Black-figure pottery. Etruscan Civilisation, 6th Century BC.

Attic Black-Figure Neck Amphora. Unknown

Attic Red-Figure Lebes Gamikos. Unknown about 400 B.C.

Terracotta hydria (water jar) ca. 490 B.C. Attributed to the Troilos Painter Triptolemos in his winged chariot bringing wheat to mankindAthens controlled the sanctuary of Demeter at Eleusis and claimed that the goddess had given wheat and the secrets of agriculture to Triptolemos, a local prince. Numerous Attic vases show the youth in a winged chariot setting off to spread knowledge of the cultivation of wheat.. Terracotta hydria (water jar). Greek, Attic. ca. 490 B.C.. Terracotta; red-figure. Archaic. Vases

Lekythos ca. 480 B.C. Attributed to the Haimon Painter Peleus and Thetis.. Lekythos. Greek, Attic. ca. 480 B.C.. Terracotta; black-figure, white-ground. Classical. Vases

Terracotta pelike (jar) ca. 480-470 B.C. Attributed to the Argos Painter Obverse, woman with mirror and wool basketReverse, youthA major task of Athenian women was to weave. The wool basket at this lady's feet, her garments that are given prominence by her pose, as well as the mirror in which she is admiring herself suggest her proficiency. Weaving the peplos that was dedicated to Athena every four years was a major enterprise. We may imagine that a woman such as the one on the pelike was involved.. Terracotta pelike (jar) 246557

HIDRIA CON FIGURAS ROJAS QUE REFLEJA UNA CLASE DE MUSICA. Author: MIDIAS (S V AC) ALFARERO. Location: ARCHAEOLOGICAL MUSEUM. Florenz. ITALIA.

Terracotta bell-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: H. 19 1/2 in. (49.5 cm)diameter 22 1/4 in. (56.5 cm). Date: ca. 450 B.C..Obverse and reverse, Dionysos, the god of wine, with his followers, satyrs and maenadsBelonging to the group around the Villa Giulia Painter, the Methyse Painter takes his name from the lyre-playing maenad in front of Dionysos (methyse means "drunk"). The figures' incipient inebriation is subtly suggested. The key is Dionysos--slow-moving with downcast, introverted expression and stabilized by a young satyr who wraps his arms around the god's middle. The satyrs and maenads on the reverse are more active. One maenad holds her thyrsos (fennel stalk) ready to parry an assault. The figures under each handle are engaged in an eternal pursuit. Museum: Metropolitan Museum of Art, New York, USA.

Attic Black-Figure Lekythos with Achilles and Ajax Playing a Board-Game in the Presence of Athena. Greece, Athens, 500-475 B.C.. Furnishings; Serviceware. Ceramic

Campanian Bell Krater; Branicki Painter; Campania, South Italy; about 320 B.C; Terracotta; 43.8 × 40.6 cm (17 1,4 × 16 in.)

Terracotta Vase for Mixing Wine and Water 450 B.C. Attributed to the Painter of the Wolly Satyrs. Scenes show a battle of centaurs and Lapiths and a battle between Greeks and Amazons.

Alto Adriatico bell krater depicting satyrs and harvesters, from Tomb 779 in the Necropolis of the Valle Trebba, Emilia-Romagna, Italy. Italic Civilization, 4th Century BC.

Terracotta neck-amphora early 5th century B.C. Attributed to the Red-Line Painter Obverse, man seizing woman at a fountain houseReverse, Dionysos on donkey and maenadWhile Dionysos is riding along peaceably on the reverse, his influence has extended to the situation on the obverse. Dressed in boots and a garment wrapped around his lower body, the man seems to be an artisan or laborer.. Terracotta neck-amphora 246724

Etruscan civilization, Black-figure pottery, Amphora depicting Athena, From Vulci, Montalto di Castro, Viterbo

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia21. 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.

Panathenaic Amphora. Attributed to the Marsyas Painter (Greek (Attic), active 370 - 330 B.C.)

Attic Panathenaic Amphora with Lid. Attributed to the Marsyas Painter (Greek (Attic), active 370 - 330 B.C.)

Pelike (Storage Jar), Greek (Attic) c.500BC. Earthenware, black figure technique.The famous Art Institute of Chicago.

Attic Red-Figure Lekythos. Circle of Phiale Painter (Greek (Attic), active about 450 - 425 B.C.)

Terracotta amphora (jar) early 5th century B.C. Attributed to the Praxias Group Artists of the Praxias Group, who probably worked in Vulci, were the first Etruscan vase-painters to develop a simpler version of the true red-figure technique. This vase is a good example of their work. The amphora shape is directly borrowed from Greek, specifically Attic, prototypes. The nude youth leaning on a long walking stick that is repeated on each side is a subject perfectly familiar from the Greek repertoire. What is different is the technique. Here, rather than reserving the figures (painting up to their outline), they are painted in a red-slip over the black-gloss background; then, interior modeling is achieved by incising lines through the superposed red slip.. Terracotta amphora (jar). Etruscan. early 5th century B.C.. Terracotta; superposed-red. Classical. Vases

Terracotta calyx-krater (bowl for mixing wine and water) 2nd half of 5th century B.C. Greek, Attic Obverse and reverse, Dionysos and Ariadne reclining among satyrs and maenadsThe degree of characterization, particularly in their movements, suggests that the satyrs are performers or derived from actors in a play.. Terracotta calyx-krater (bowl for mixing wine and water) 256056

Attic amphora with a scene depicting youths in conversation, 440-430 BC, work by the Peleus Painter, red-figure pottery, from Tomb 422 in the Necropolis of Valle Trebba, Emilia-Romagna, Italy. Italic Civilization, 5th Century BC.

Column-krater ca. 475-465 B.C. Attributed to the Leningrad Painter Obverse and reverse, youths and flute player.. Column-krater. Greek, Attic. ca. 475-465 B.C.. Terracotta; red-figure. Classical. Vases

Etrusco-Corinthian amphora depicting Tydeus killing Ismene and Periclymenus fleeing, from Cerveteri, Rome Province, Italy

Terracotta kylix (drinking cup) ca. 420 B.C. Attributed to the Washing Painter Interior, two youthsExterior, obverse and reverse, men and youthsKylikes predominate numerically in the oeuvre of the Eretria Painter, although they do not always represent his most innovative work. This cup shows the persistence of the theme of men and youths into the last quarter of the fifth century B.C. and the increasing looseness in the handling of the red-figure technique. Indeed, the magnificent palmette ornament is the most structured part of the decoration.. Terracotta kylix (drinking cup) 248176

Terracotta amphora (jar) ca. 540-530 B.C. Attributed to the Swing Painter Obverse and reverse, warrior departing in quadriga (4-horse chariot)A soldier bidding farewell to his parents was a popular subject in vase-paintings. Here he has mounted a chariot drawn by four horses; and his charioteer, dressed in a long white and red chiton, prepares to drive him to the battlefield. The great warriors of Homer's Iliad were conducted to and from combat in this way.. Terracotta amphora (jar). Greek, Attic. ca. 540-530 B.C.. Terracotta; black-figure. Archaic. Vases

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.

Lekythos. Culture: Greek, Attic. Dimensions: H. 21.79 cm.. Date: 6th-5th century B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Attic Red-Figure Lekythos. Class of Lekythoi related to the L.M. Painter (Greek (Attic))

JARRO DE PICO - MANISES - SIGLO XVII - DECORADO CON HOJAS Y PARDALOTS. Location: INSTITUTO VALENCIA DE DON JUAN-COLECCION. MADRID. SPAIN.

Terracotta column-krater (bowl for mixing wine and water) ca. 540 B.C. Greek, Attic Obverse, Gigantomachy (battle of gods and giants)Reverse, Dionysos with satyrs and maenadsDuring the latter part of the sixth century B.C., black-figure artists mastered their medium sufficiently to create compositions with many figures in action and in complex spatial relationships. Battle scenes were ideal subjects. The presence of Athena identifies the combatants here. The arms and armor are those that contemporary Greek soldiers would have used.Dionysos and his followers on the reverse could, potentially, create similar din and confusion. Here, they appear sprightly but orderly.. Terracotta column-krater (bowl for mixing wine and water) 251522 Greek, Attic, Terracotta column-krater (bowl for mixing wine and water), ca. 540 B.C., Terracotta, H. 19 7/8 in. (50.5 cm) diameter of mouth 18 3/4 in. (47.6 cm). The Metropolitan Museum of Art, New York. Fletcher Fund, 1924 (24.97.95)

Terracotta lekanis (covered dish) ca. 400 B.C. Connected with the Otchët Group On the lid, woman, youths, and ErotesMany covered dishes of this type were decorated with scenes of women. Apparently, they were often brought to brides to fill with food and other gifts.. Terracotta lekanis (covered dish) 250575 : Connected with the Otcht Group, Terracotta lekanis (covered dish), ca. 400 B.C., Terracotta, Overall: 7 9/16in. (19.2cm) Other (total height): 7 9/16 x 11 3/4in. (19.2 x 29.9cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1917 (17.230.42a, b)

Attic Red-Figure Lekythos.

Attic White-Ground Lekythos. Attributed to the Tymbos Painter (Greek (Attic), active about 460 B.C.)

Attic Red-Figure Kalpis Fragment. Attributed to Berlin Painter (Greek (Attic), active about 500 - about 460 B.C.)

Judgement of Paris. 4114. Greek 470-460 B.C. The Metropolitan Museum of Art , Containers, Supernatural beings, Antiquities, Paris Legendary character, Hermes Greek deity. Nicholas Catsimpoolas Collection

Apulian Red-Figure Krater with Mascarons. Baltimore Painter, painter (South Italian (Apulian)) about 330-320 B.C.

Chous (Toy Pitcher). Greek; Athens. Date: 400 BC-380 BC. Dimensions: 8.9 × 6.5 × 6.5 cm (3.51 × 2.57 × 2.56 in.). Terra-cotta, decorated in the red-figure technique. Origin: Athens. Museum: The Chicago Art Institute, Chicago, USA. Author: ANCIENT GREEK.

Greek vase painting with Dionysian Scene, Germany, Karlsruhe, Badisches Landesmuseum, 4th Century BC

Black-figure pottery. Lekythos depicting battle between Lapiths and Centaurs, 520-510 B.C.

Apulian Red-Figure Bell Krater. Attributed to the Painter of the Long Overfalls (Greek (Apulian))

Cylinder Vessel with Musicians and Dancers in a Palace Scene. Guatemala, Petén, Motul de San José or vicinity, Maya, 700-850 CE. Ceramics. Slip-painted ceramic

Greek, Red-figured lepaste (toilet box) with seated women and Erotes on the lids of the compartments Made in Campania, Italy about 380-370 BC

Red-figure pottery, Oinochoe attributed to Painter of Brussels oinochoai, side portraying Ulysses, height 20 cm, from Athens, Greece

Terracotta column-krater (bowl for mixing wine and water) ca. 470-460 B.C. Attributed to the Pan Painter Obverse, Dionysos followed by attendant satyrReverse, satyr with skyphos (deep drinking cup)A pupil of Myson, the Pan Painter was one of the best artists of his generation. Here he depicts Dionysos, the god of wine, enfolded in an ample cloak and crowned with a large ivy wreath, evidently on his way to a specific destination. The satyr behind him carries a cushioned stool, a kantharosthe drinking vessel most characteristic of Dionysosand a branch of ivy. On the reverse, a satyr seems to welcome them with a skyphos. The god is subtly juxtaposed with his helpers who, despite their meticulous grooming and obedient service, do not entirely overcome their animal natures.. Terracotta column-krater (bowl for mixing wine and water) 249068

Attic Red-Figure Kylix. Interior attributed to Meidias Painter (Greek (Attic), active 420 - 390 B.C.)

Lazio Viterbo Viterbo Museo Civico92. Hutzel, Max 1960-1990 Views of paintings (Middle Ages through 18th c.), frescoes, a tabernacle, coffin, sculpture reliefs, portal fragments, busts, sculpture, tapestry found in the Pinacoteca, Second floor gallery and Second floor cloister sequences. Antiquities: Many views of Etruscan and Roman fragments, sculpture, sarcophagi, pottery, masks, jewelry and other objects found in the Storeroom sequence (inventory numbers on back of prints), and the Cloister, Second floor Cloister, Valle Giulia, Sala Romana and Sala Etrusca sequences. General Notes: There are eight separate numerical sequences for this location. The cloister as an architectural structure, rather than museum site, is documented in the record and file for S. Maria della Verita, Cloister, all views of which are stored in Medieval core collection. Five views from the Museo Civico Second floor cloister sequence are stored in Medieval. German-born photographer and scholar Max Hutzel (1911-

GRAN KALATHOS PROCEDENTE DE LA ALCUDIA DE ELCHE (ALICANTE). Location: MUSEO DE LA ALCUDIA. ELCHE. Alicante. SPAIN.

Vessel with Scribes holding Shell PaintPalettes, A.D.600-900, Ceramic with pigment, 13.3 cm (5 1/4in.), Using clay slip and natural pigments, Maya artists painted thousands of vases. Subjects ranged from daily life to detailed epic and supernatural narratives. Some were inscribed with text, drawn by the artist’s hand. Palettes ranged from monochromatic—known as codex style from the calligraphic quality of the line—to vibrant hues of orange, yellow, blue, and green. Many artists and scribes were elite members of Maya society. Here two scribes are recognizable by the paint pots they hold and the dotted strips of paper emanating from under theirarms. , Made in Campeche, Mexico, Mexico, Campeche,Maya, Late ClassicPeriod, Containers -Ceramics

Italy, Umbria, Perugia, Red-figure calyx krater (vase used to mix wine and water) depicting Heracles hitting an Amazon, painted by the Vulci School, 330/300 B.C.

Attic Black-Figure Mastoid. Unknown

Tarquinia 707 painter. Hydria. Red figures. Athens (Greece), 440 BC. AD Museum of Fine Arts of the City of Paris, Petit Palais. 58660-19 Anse, antiquity, Greek antiquity, Greek art, attic, ceramic, dutuit collection, red figure, warrior, man, hydrie, music instrument, playing, lyre, decorative motif, nudite, character representation, ancient scene, tunic, ancient vase, veme Ve v 5th 5th 5 century AV.JC, naked

Krater with geometric decoration. Late Geometric Period. Argos Archaeological Museum. Greece.

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