Ancient Greek Terracotta Vases

A collection of Greek terracotta vases from the Archaic period, depicting mythical scenes, warriors, and Dionysian themes, featuring intricate black-figure decorations.

Storage Jar with Herakles Battling Kyknos; Euboea, Greece; about 570 - 560 B.C; Terracotta; 35.8 × 23.8 cm (14 1,8 × 9 3,8 in.)

Storage Jar with Herakles Battling Kyknos; Euboea, Greece; about 570 - 560 B.C; Terracotta; 35.8 × 23.8 cm (14 1,8 × 9 3,8 in.)

Neck-amphora last quarter of 6th century B.C. Attributed to the Group of Würzburg 199 Herakles bringing the Erymanthian boar to Eurystheus. Warrior and archer.. Neck-amphora. Greek, Attic. last quarter of 6th century B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta neck-amphora (jar) ca. 550-540 B.C. Greek, Attic Obverse, Dionysos, satyr and maenadReverse, man courting youthThe decoration of this little amphora complements the Dionysiac themes on cups in this case. The graffito beneath one handle refers to a woman called Anthyle, perhaps the same one praised on two later hydriai (water jars). The gist may be rendered loosely as "Anthyle, up yours.". Terracotta neck-amphora (jar). Greek, Attic. ca. 550-540 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta hydria (water jar). Culture: Greek, Attic. Dimensions: H. 14 3/4 in. (37.5 cm). Date: ca. 510-500 B.C..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. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta neck-amphora (jar) ca. 510-500 B.C. Greek, Attic Obverse, the centaur Pholos and Herakles between Iolaos and Hermes.Reverse, revellers.. Terracotta neck-amphora (jar). Greek, Attic. ca. 510-500 B.C.. Terracotta; black-figure. Archaic. Vases

Stamnos, red-figure pottery from Vulci (Lazio). Etruscan Civilization, 4th Century BC.

Terracotta neck-amphora (jar) ca. 530 B.C. Attributed to the Painter of Munich 1410 Obverse, departure of a youthReverse, two young men between warriorsThe main scene can be recognized as a departure because of the accoutrement of the youthfully dressed, with sandals, sword, and two spearsas well as the action of filling his cup from an oinochoe. The elaborate garments, the attendants of different ages, and the second pair of spears held by the youth at right suggest a mythological episode.. Terracotta neck-amphora (jar). Greek, Attic. ca. 530 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta hydria: kalpis (water jar) ca. 460-450 B.C. Attributed to the Villa Giulia Painter Youth and two womenThe Villa Giulia Painter favored scenes of daily life in Athens. In this respect, he resembles Douris except that he worked primarily on pots rather than cups. The setting for this scene is the women's quarter of the house, indicated by the high-backed chair and especially by the kalathos (wool basket) that one woman is holding out. The youth seems to have come for an impromptu visit.. Terracotta hydria: kalpis (water jar). Greek, Attic. ca. 460-450 B.C.. Terracotta; red-figure. Classical. Vases

Hydria (Water Jar) 515 BCE-500 BCE Athens. This large handled jar held the water used to dilute large quantities of wine in preparation for the Greek symposium. It was considered uncivilized for a Greek to consume undiluted wine, so water was fetched from a public fountain house in a jar like this one. The horizontal handles made it easier to carry, while the vertical handle at the back was used for pouring.On the front of this vase, the hero Hercules wrestles Triton - the messenger of the sea who is depicted as a merman - as a man and a woman look on. They are likely Nereus and Tritonís mother Amphitrite, but we cannot be certain. The intricate composition has the Greek hero astride the monster, his arms locked around Tritonís neck in an implacable grip, while Triton flails his arms, black fingers stretched against the red background. They face different directions-Herakles to the viewersí right and up, victorious, and Triton to the left and down, vanquished. Precise incision renders

Greek art. Spain. Catalonia. Hydria. Poterry used for carrying water. Found in Empuries. 4th century BC. Detail Eros. Archaeological Museum of Catalonia. Girona.

Terracotta neck-amphora (jar) ca. 500 B.C. Attributed to the Edinburgh Painter Obverse, Theseus and the Minotaur with Ariadne ()Reverse, Herakles battles an AmazonThis small neck-amphora shows Theseus slaying the Minotaur, the half-man, half-bull who lived in the Labyrinth at Knossos. According to myth, Theseus, one of the seven young men offered as a sacrifice to the Minotaur, killed the beast and was rescued from the Labyrinth with the help of a string given to him by Ariadne, daughter of King Minos. As Theseus began to represent many of the qualities Athenians thought important about their city, the subject of Theseus and the Minotaur became a popular scene in Athenian vase painting of the Archaic period.. Terracotta neck-amphora (jar). Greek, Attic. ca. 500 B.C.. Terracotta; black-figure. Archaic. Vases

Red-figured Attic clay hydria with dancing maenads, by Unknown, 5th Century, pottery, turn on lathe, red figures . Italy, Campania, Naples, National Archaeological Museum. Whole artwork. Front hydria red figures Attic pottery vase flared-disk foot globular body protruding lip two horizontal side handles one behind vertical non-visible with figure decoration on the body dancing maenads.

Attic amphora, ca 525 BC, from the school of Antimenes, black-figure pottery from Sicily, Italy. Ancient Greek civilization, Magna Graecia, 6th Century BC.

Terracotta pelike (jar). Culture: Greek, South Italian, Apulian. Dimensions: H. 22 1/2 in. (57.2 cm). Date: ca. 330-310 B.C..Obverse, naiskos (shrine) with woman and attendant between youth and womanReverse, woman, youth, and ErosA: naiskos with a statuary group of a maid placing a stool for her deceased mistress who holds a fan; outside to the left, a nude youth with a branch. To the right, a woman. B: a woman with a situla and a branch follows a youth holding a phiale and a branch. Eros sits above. Museum: Metropolitan Museum of Art, New York, USA.

Attic Red-Figure Belly Amphora Depicting Herakles Capturing Kerberus, Greek, From Athens 6th C. BC Andokides Painter (attr. to)(Greek) Pottery

Red Figure Stamnos with a Warrior and a Woman. 360 -330 BC. Etruscan art. Ceramics. FRANCE. ëLE-DE-FRANCE. Paris. National Library. Proc: ITALY. LAZIO. VITERBO. Montalto di Castro. Vulci.

Red-figure pottery, Volute krater attributed to Aurora Painter, Side depicting Peleus kidnapping Tethys, from Civita Castellana, ancient Falerii, Rome province, Italy

Terracotta Nolan amphora (jar) ca. 480-470 B.C. Greek, Attic Obverse, warriors fighting Persian archerReverse, warriorThe almost miraculous Greek victory in 480 B.C. over the invading Persians, who were backed by the resources of a powerful empire, was the theme of much art produced in Greece during the first half of the fifth century B.C. Most images cast the battle in mythological terms; this is one of the few that show a Greek actually fighting a Persian.. Terracotta Nolan amphora (jar). Greek, Attic. ca. 480-470 B.C.. Terracotta; red-figure. Classical. Vases

Cleophrades painter (5th century BC). Red-figure amphora depicting the departure of a warrior. 5th c. BC. Classical Greek art. Ceramics. GERMANY. Munich. Staatliche Antikensammlungen und Glyptothek MŸnchen (Bavarian State Collections of Greek and Roman Vases and Sculptures in Munich).

CRATERA EN FORMA DE CALIZ (NACIMIENTO DE ELENA). Location: NATIONAL MUSEUM OF ARCHAEOLOGY. NEAPEL. ITALIA. HELEN OF TROY.

Terracotta column-krater (bowl for mixing wine and water) ca. 500 B.C. Attributed to the manner of the Göttingen Painter On the body, obverse, Herakles and KyknosReverse, two revelersOn the neck, obverse, on white-ground, hunters and houndsOn the topside of the lip, animalsThe transition from black-figure to red-figure among Athenian artists was neither rapid nor orderly. While the Göttingen Painter used the new technique for the main subjects, he decorated the neck of the obverse in the outmoded combination of silhouette on white-ground. On the lip, he reverted to a practice favored during the second quarter of the sixth century B.C. by black-figure painters.. Terracotta column-krater (bowl for mixing wine and water). Greek, Attic. ca. 500 B.C.. Terracotta; red-figure, white-ground. Late Archaic. Vases

Terracotta Nolan amphora (jar). Culture: Greek, Attic. Dimensions: H. 13 11/16 in. (34.8 cm). Date: ca. 480-470 B.C..Obverse, warriors fighting Persian archerReverse, warriorThe almost miraculous Greek victory in 480 B.C. over the invading Persians, who were backed by the resources of a powerful empire, was the theme of much art produced in Greece during the first half of the fifth century B.C. Most images cast the battle in mythological terms; this is one of the few that show a Greek actually fighting a Persian. Museum: Metropolitan Museum of Art, New York, USA.

Black-figured olpe from Cerveteri, 6th Century, ceramic,

Stamnos (Mixing Jar) 450 BCE Athens. This refined Athenian stamnos (pl. stamnoi) was used to mix water and wine. Also valued for its beauty, this red-figure vessel (so called because the figures remain the natural color of the clay) portrays either Greek women or maenads, female participants in rites celebrating Dionysos, the god of wine. But unlike the frenzied and whirling figures of other Greek vases, these women convey calm, even elegance. This tender serenity, coupled with a softer, somewhat freer form, is a hallmark of the artist (referred to as the Chicago Painter because of this vase) and has been used to identify other works by him, principally similar stamnoi. Working in the pottersí quarter of mid-fifth-century BC Athens, the painter was active during the construction of the Parthenon, the stylistic influence of which can be seen here. He worked closely with a master potter whose vases were individually shaped in a prescribed range of configurations. With refined designs tha

Lekythos. Culture: Greek, Attic. Dimensions: 7 5/16in. (18.6cm). Date: early 5th century B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta skyphos (deep drinking cup) ca. 490-480 B.C. Attributed to the Brygos Painter Maenads in rocky landscapeThe disparate handles increase the manipulability of the cup. The decoration shows two maenads (followers of Dionysos, the god of wine). The one on the obverse plays the flute as the lower border of her garment billows gently; her thyrsos, a fennel stalk crowned with ivy, has been set to one side. The maenad on the reverse bends and stretches vigorously, as indicated by her hair and the extremities of the feline pelt that stream out.. Terracotta skyphos (deep drinking cup). Greek, Attic. ca. 490-480 B.C.. Terracotta; red-figure. Archaic. Vases

Calyx-krater (large vase) by the Villia Giulia Painter. Red-figure pottery from Cerveteri (Lazio). Etruscan Civilisation, 4th Century BC.

Lekythos. Culture: Greek, Attic. Dimensions: Diameter: 3 3/8 × 1 13/16 × 2 3/8 in. (8.6 × 4.6 × 6 cm)Height: 8 5/8 in. (21.9 cm). Date: 2nd quarter of 5th century B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta bell-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: H. 14 3/16 in. (36 cm); diameter of mouth 15 1/16 in. (38.2 cm). Date: ca. 450-440 B.C..Obverse, kitharode and three male listenersReverse, three youthsThe principal scene shows a young man performing for three listeners. The instrument is a kithara, the type of lyre used for formal presentation. The artist's concern is to convey the response of each figure, from the deep introversion of the seated man to the gesture of the person behind him. This representation is characteristically classical in its emphasis on a state of being rather than on a narrative event. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta amphora (jar). Culture: Greek, Attic. Dimensions: H. 15 3/4 in. (40 cm). Date: ca. 520-510 B.C..Obverse and reverse, revelersDrinking plays a large part in Attic vase-painting. Many of the shapes were made for the symposium, and their decoration depicts varied aspects of the gatherings. This amphora shows two groups of men, wreathed with vine leaves and because they stand firmly, probably at the beginning of the evening. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta neck-amphora (jar) ca. 500 B.C. Greek, Attic Obverse, Herakles and the Nemean lionReverse, women at a fountain houseAlthough the activities of Athenian women took place primarily within the house, fetching water was an exception. It is noteworthy that the subject is popular on vases of the second half of the sixth century. The implication is that this task was not considered menial. Furthermore, while there were a variety of genre scenes showing menpreparing for battle, participating in symposia, etc.--this is one of the few specific to women.. Terracotta neck-amphora (jar) 254383 Greek, Attic, Terracotta neck-amphora (jar), ca. 500 B.C., Terracotta, H. 13 1/16 in. (33.1 cm); diameter 8 1/8 in. (20.7 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1941 (41.162.212)

Terracotta pelike (wine jar) 2nd half of the 4th century B.C. Attributed to the Amazon Painter Obverse, Greeks fighting AmazonsReverse, maenad between two satyrsIn many Attic vases of the fourth century B.C., the figural decoration and the surface of the vase are no longer in the perfect harmony that earlier vase-painters were able to achieve. The bodies seem almost three-dimensional, and the composition is confused apparently in an attempt to imitate large contemporary panel and wall paintings. The addition of much white, yellow, and gilding is typical of what is traditionally known as the "Kerch style" because many such vases have been found in princely tombs in the area of Kerch in the Crimea on the northern shore of the Black Sea.. Terracotta pelike (wine jar). Greek, Attic. 2nd half of the 4th century B.C.. Terracotta; red-figure. Classical. Vases

Attic Red-Figure Column Krater. Myson (Greek (Attic), active 500 - 475 B.C.)

Terracotta column-krater (bowl for mixing wine and water) ca. 480 B.C. Attributed to Myson Obverse, fight.Reverse, revel.. Terracotta column-krater (bowl for mixing wine and water) 254903 : Attributed to Myson, Terracotta column-krater (bowl for mixing wine and water), ca. 480 B.C., Terracotta, H. 36.60 cm.. The Metropolitan Museum of Art, New York. Fletcher Fund, 1956 (56.171.45)

Black-figure lekythos showing Apollo mounting a chariot drawn by lions, a wolf, and aboar. Artist: Edinburgh Painter, Greek, Attic, ca. 500-480 B.C.

Anonymous. "Chalcidian hydrie". Ceramics, yellow clay, orange surface, some mica glitter. -550/500 BC .. Museum of Fine Arts in the city of Paris, Petit Palais. 99935-16 Antiquity, clay, ceramic, ieme half of the life VI 6th 6th 6 century before av. JC, ancient

Terracotta neck-amphora (jar) ca. 540-530 B.C. Greek, Attic Obverse, Athena in quadriga wheeling round; Reverse, Dionysos with satyr and maenad. The chariot scene on the obverse shows considerable progress in the depiction of motion and complicated poses. The artist has chosen a remarkably low vantage point, whichreveals the lower portions of the chariot box and especially emphasizes the mass and movement of the horses. The various palmette ornaments are also particularly assertive.. Terracotta neck-amphora (jar). Greek, Attic. ca. 540-530 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta neck-amphora (jar) with twisted handles ca. 400 B.C. Attributed to the Suessula Painter Obverse, combat of Greeks against AmazonsReverse, three youthsThis vase is complementary in its main scene to the adjacent work with which it was found. The battle scene reveals the artist's interest in action and his ease with the medium. It is particularly revealing to contrast the conventional, rather anemic palmette on the neck with the barren tree that the artist had seen first-hand.. Terracotta neck-amphora (jar) with twisted handles 254518 : Attributed to the Suessula Painter, Terracotta neck-amphora (jar) with twisted handles, ca. 400 B.C., Terracotta, H. 14 1/16 in. (35.8 cm). The Metropolitan Museum of Art, New York. Fletcher Fund, 1944 (44.11.12)

Terracotta hydria (water jar) ca. 530-520 B.C. Attributed to an artist related to the Antimenes Painter On the body, Herakles and TritonOn the shoulder, combat of warriors between two fleeing womanIn the predella, animalsTriton was a sea-creature born of Poseidon, god of the sea, and Amphitrite. The combat between Poseidon and Herakles was popular during the later sixth century B.C. and is particularly appropriate to hydriai. This encounter has no story but mainly highlights the strength and resourcefulness of Herakles. The warriors on the neck may be Achilles and Memnon, identifiable by their mothers who witnessed the duel.. Terracotta hydria (water jar) 251345 : Attributed to an artist related to the Antimenes Painter, Terracotta hydria (water jar), ca. 530520 B.C., Terracotta, H. 13 3/4 in. (35 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1923 (23.160.1)

Attic Red-Figure Pelike; Achilles Painter; Athens, Greece; 445 - 440 BC; Terracotta; 23.5 × 13.8 cm (9 1,4 × 5 7,16 in.)

Terracotta miniature Panathenaic amphora ca. 400 B.C. Attributed to the Bulas Group 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.. Terracotta miniature Panathenaic amphora 247320

Apulian red-figured calyx krater, by Painter of Athens, IV Century, 370-360, cm 42 diamentro orlo 38 cm - piede 17.8 cm

Pot

Oinochoe (Herakles and Kerberos). The Oinochoe is decorated with the presentation of one of the twelve legendary deeds of Greek Hero's Herakles.Links is the Heros, recognizable to Löwenkell, quiver and clubs. He is about to captivate the two-headed Kerberos, guards of the entrance to the underworld. Behind the hell dog stands the godsman Hermes, dressed with Chiton and wing hat.

Terracotta pelike (jar) ca. 420-410 B.C. Attributed to the Somzée Painter Obverse, Dionysos banquetingReverse, three youthsThe scene presents an early form of the outdoor gatheringwith or without repastso favored in later Western art. Dionysos, the god of wine, reclines on a couch in a hilly setting with a spreading vine. A young man and an old satyr attend to the wineworthy of notice is their calyx-krater (bowl for mixing wine and water) decorated with a satyr and maenad, followers of Dionysos. In front of the god is a surface with bread and fruit. The woman at right brings grapes in a flat basket. Although the drawing is facile, the figures are substantial and individually characterized. Listen to experts illuminate this artwork's story Listen Play or pause #1053. Terracotta pelike (jar) 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 pelike (j

Terracotta hydria: kalpis (water jar) ca. 420-410 B.C. Attributed to the Chrysis Painter Women outdoorsThe setting is indicated by the uneven terrain and the wisps of plant life growing around the figures. Otherwise, the iconography would be that of women in a domestic interior. The ladies are finely dressed and embellished with jewelry. They are shown with their caskets, wool baskets, and a mirror.. Terracotta hydria: kalpis (water jar). Greek, Attic. ca. 420-410 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta squat lekythos (oil flask). Culture: Greek, Attic. Dimensions: H. 5 3/8 in. (13.7 cm); diameter 3 9/16 in. (9 cm). Date: ca. 470-460 B.C..Woman playing a lyreThe alabastron (perfume vase) suspended in the background indicates that the scene takes place indoors. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta amphoriskos (flask) ca. 420 B.C. Greek, Attic Obverse, Apollo playing the lyre for Urania, the muse of astronomy, and another museReverse, Adrastos, the king of Argos, in his chariot; names inscribed. Terracotta amphoriskos (flask). Greek, Attic. ca. 420 B.C.. Terracotta; red-figure. Classical. Vases

Attic Red-Figure Kantharoid Skyphos. Aison (Greek (Attic), active 425 - 400 B.C.)

Flying angel painter. Amphora. Red figures. 490 BC. AD Museum of Fine Arts of the City of Paris, Petit Palais. 58659-8 Amphora, flying angel, handle, antiquity, antiquity Greeco-Roman, Greek antiquity, Greek-Roman archeology, ancient, attic, ceramic art, Greek-Roman civilization, red figure, black background, container, character representation, ancient scene, ancient vase , Veme Ve V 5th 5th 5 Center AV.JC

Red-figurepelike. Artist: Group G, Greek, Attic, c. 400 B.C.

Terracotta Panathenaic prize amphora (jar). Culture: Greek, Attic. Dimensions: H. 24 5/16 in. (61.8 cm)diameter 2 9/16 in. (6.5 cm). Date: ca. 560-550 B.C..Obverse, Athena, with this inscription: one of the prizes from Athens. Nikias made meReverse, footrace, with this inscription: stadion race of menFrom the second quarter of the sixth century B.C. on, victors in the contests of the Panathenaic festival in Athens were awarded a standardized amphora containing one metretes (about forty-two quarts) of olive oil from sacred groves in Attica. The official decoration on the front was a picture of a statue of Athena, fully armed. The scene on the back showed the event for which the prize was awarded. This is the earliest Panathenaic amphora in the collection of The Metropolitan Museum of Art. It is also one of the earliest of those dated between 566 and 550 B.C., a period of some experimentation. The canonic ornaments for the neck and shoulder and even the placement of the official prize in

Greek art. Black-figured lekythos: fighting hoplites. 500-490 BC. Attributed to the Edinburgh(Greek painter). Clay. The State Hermitage Museum. Saint Petersburg. Russia.

Skyphos decorated with komasts (dancers), ca. 500 BC. By the Theseus Painter, a decorator of vases in the black-figure style active in Attica approximately between 515 BC and 475 BC. Museum of the Ancient Agora. Athens, Greece. Author: Theseus Painter (fl. 515 BC-475 BC). Attic black-figure vases decorator.

Attic Black-Figure Neck-Amphora. Unknown

Water Jar with Herakles Wrestling the Nemean Lion; Attributed to Aegisthus Painter (Greek (Attic), active about 480 - about 460 B.C.); Athens, Greece; about 470 B.C; Terracotta; 27.8 × 31 × 26.1 cm (10 15,16 × 12 3,16 × 10 1,4 in.)

Terracotta squat lekythos (oil flask) ca. 470-460 B.C. Attributed to the Painter of Oxford 1920 Woman seated with lyreThe presence of a bird, evidently listening raptly, and the emphatically large chair as well as the frontal face suggest that the subject here is more than an Athenian lady making music. It is difficult to tell whether she should be thought of as an inspired mortal, a poetess, or a muse.. Terracotta squat lekythos (oil flask). Greek, Attic. ca. 470-460 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta amphora (jar) ca. 550 B.C. Attributed to the Amasis Painter Obverse and reverse, warrior putting on armorAlthough both sides of this amphora show the same subject, the Amasis Painter has introduced subtle variations in the sequence of action and in detail. On one side, a warrior holds a greave (shin guard); on the other side, he adjusts it on his leg. A nude youth with a spear and a wreath is replaced in the opposite scene by a woman with a spear and an aryballos (oil flask). This is an interesting conflation of two important themes because both the wreath and the oil flask are usually associated with athletes, not warriors. The male figures have the same long hair and proud stance as contemporary marble statues and reliefs of kouroi (youths) and embody the same ideal of young manhood.. Terracotta amphora (jar) 247238

Red-figured skyphos with theatrical performance. 4th c. BC. Representation of Heracles and Hermes in a quarrel. Classical Greek art. Ceramics. ITALY. LOMBARDY. Milan. La Scala Theatre Museum.

Attic Black-Figure Amphora (Tyrrhenian); Castellani Painter; Athens, Greece; about 570 B.C; Terracotta; 43 × 16.5 cm (16 15,16 × 6 1,2 in.)

Greek art. Krater. Attic style. Disco_bolo athlete representation in funeral games. 530 BC. Archaeological Museum. Madrid.

Terracotta kylix (drinking cup). Culture: Greek, Boeotian. Dimensions: 3 1/8 x 12in. (8 x 30.5cm); diameter 9 5/16in. (23.7cm). Date: early 5th century B.C..Interior: woman. Exterior: sirens making music. Museum: Metropolitan Museum of Art, New York, USA.

Attic volute krater depicting Zeus entrusting the child Dionysus to the nymphs, 470 BC, work of the Altamura Painter, red-figure pottery from Tomb 381 in the Necropolis of Valle Trebba, Emilia-Romagna, Italy. Italic Civilization, 5th Century BC.

Water Jar with Dionysos and Poseidon; Attributed to Wider Circle of Lydos (Greek (Attic), active about 565 - 535 B.C.); Athens, Greece; about 550 B.C; Terracotta; 38.9 × 30.2 cm (15 5,16 × 11 7,8 in.)

Campania Caserta Capua Museo Campano038. Hutzel, Max 1960-1990 Medieval: Byzantine architectural fragments; parchment fragments with miniatures (12th century) from Montecassino; painted wooden crucifix (13th century); Carolingian crucifixes; Bishop's miter (11th century) of gold and silver damask; fresco (13th century). Post-medieval: Architecture (15th century). Formerly the Palazzo Antignano. Unusual Catalan/Moorish-style portal; Paintings on panel and canvas (15th-18th centuries); marble intarsia (16th century); marble sculpture: busts of Christ and Mary (17th century); sculpture of saints in marble and in wood (15th century); painted and gilded sculpture in wood; marble grave sculpture (16th century); sarcophagus with allegorical carvings; gold reliquary "Rosa d'Oro"; crucifix made of elephant tusk Specific Location: Pianterreno Antiquities: Italic sculpture (seated women holding babies); inscription. Photo campaign #1: 533 photos. Roman relief and sculpture; cinerary urns; Greek a

Pelike czerwonofigurowa z przedstawieniem kobiet grających na aulosach i tańczących nagich dziewczyn z krotalami. Malarz Deepdene, author

Attic Red-Figure Kalpis. Attributed to Aegisthus Painter (Greek (Attic), active about 480 - about 460 B.C.)

Aryball lease red -support with the representation of the mermaid and ga zk olive; Mermaid painter; around 460-440 BC (-460-00-00--440-00-00);

Terracotta column-krater (bowl for mixing wine and water) ca. 460-450 B.C. Attributed to the Cleveland Painter Obverse, satyrs treading grapes in the presence of DionysosReverse, satyrs and maenadThis scene is another in which satyrs perform human tasks; here is one for which they are particularly qualified. The representation is significant as an illustration of the equipment that was used in ancient Attica.. Terracotta column-krater (bowl for mixing wine and water) 254177 : Attributed to the Cleveland Painter, Terracotta column-krater (bowl for mixing wine and water), ca. 460450 B.C., Terracotta, H. 32.51 cm.. The Metropolitan Museum of Art, New York. Rogers Fund, 1941 (41.162.10)

Attic Black-Figure Oinochoe (Shape 1). Painter of Oxford 225 (Greek (Attic))

Amphora. 530 -510 BC. Archaic Greek art. Ceramics. UNITED KINGDOM. ENGLAND. London. The British Museum.

Attic Red-Figure Footed Dinos. Attributed to the Syleus Painter (Greek (Attic), active 490 - 470 B.C.)

Terracotta Nolan neck-amphora (jar). Culture: Greek, Attic. Dimensions: H. 13 in. (33 cm)diameter 7 9/16 in. (19.2 cm). Date: ca. 480-470 B.C..Obverse, satyr playing lyreReverse, satyr with wineskinAs followers of the wine-god Dionysos, satyrs were traditionally associated with wine in all forms. Of interest here is the representation of the satyr playing the lyre. Music and especially the lyre, an attribute of Apollo, was the mark of a civilized, cultured individual. The depiction here reflects a general domestication of satyrs during the fifth century. It probably also alludes to developments in Greek theater and the rise of the satyr play. Museum: Metropolitan Museum of Art, New York, USA.

Oenochoe attributed to Amasis Painter with scene representing Heracles and Nemean lion, 560-550 B.C.

Terracotta dinos (deep round-bottomed bowl) ca. 375-350 B.C. Attributed to the Group of Vienna 4013 Banquet sceneThe scene depicts the male guests reclining on couches and attended by two youths and two women. The iconography follows Attic antecedents quite closely. The vases used for drinking, however, probably reflect contemporary local practice.. Terracotta dinos (deep round-bottomed bowl) 248903

Red -support peliquea; after. 5th century BC (-450-00-00--450-00-00);

Terracotta kylix (drinking cup). Culture: Greek, Attic. Dimensions: H. 5 3/16 in. (13.2 cm); diameter 13 1/8 in. (33.3 cm). Date: ca. 500 B.C..Interior, warrior and boyExterior, athletesThe interior presents a particularly fine but also sober depiction of a warrior; he grasps a spear and is accompanied by a boy, probably an attendant. The artist carefully articulated the elements of the warrior's dress and armor; by putting the helmet to one side, he could render the pensive, downcast face. The exterior shows more animated scenes--boxing, wrestling, and preparing to throw the diskos. Museum: Metropolitan Museum of Art, New York, USA.

Calyx krater Faliscan with red figures, by Nazzano Painter, 380-IV Century, cm h. 37.6/39.9 - diamentro orlo 42 cm

Alabastron; Unknown; Greece (Corinth); about 595 - 570 B.C.; Terracotta; Object: H: 10.1 x Diam. (body): 5.4 cm (4 x 2 1/8 in.), Object (rim): Diam.: 3.7 cm (1 7/16 in.)

Lidded Storage Jar with the Blinding of Polyphemus; Workshop of the Calabresi Urn (Etruscan, active 650 - 625 B.C.); Etruria; 650-625 B.C; Terracotta; 100.7 × 56 cm (39 5,8 × 22 1,16 in.)

Alabastron. Unknown

Neck-amphora. Culture: Greek, Attic. Dimensions: 16 7/16in. (41.7cm). Date: ca. 520-510 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Campania Caserta Capua Museo Campano, Italy, 20th century, photo, photography, Europe

Terracotta lekythos late 6th- early 5th century B.C. Greek, Attic Lekythoi filled with oil were offerings to the dead. The scene on this lekythos, a warrior departing for battle, is likely a family gathering of the warriors father, wife, and son. Such representations, which show the warrior in the company of a small group of family members, reflect similar representations on Greek funerary monuments.. Terracotta lekythos 329995

Italy, Apulia, Ruvo di Puglia, Krater (vase used to mix wine and water) painted by the Promonos Painter

Terracotta neck-amphora (jar) late 6th century B.C. Attributed to the Painter of the Vienna Stamnos 318 Obverse and reverse, warriors in combat. Terracotta neck-amphora (jar) 248294

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.

Attic Black-Figure Amphora. Unknown

Oinochoe czarnofigurowa z przedstawieniem wojowników.

Greek Vase. Theseus slaying the Minotaur. Black Figure style.

Prize Vessel from the Athenian Games; Attributed to the Painter of the Wedding Procession (Greek (Attic), active about 362 B.C.), Signed by Nikodemos (Greek (Attic), active about 362 B.C.); Athens, Greece; 363 - 362 B.C; Terracotta; 89.5 cm (35 1,4 in.)

Terracotta amphora (jar). Culture: Etruscan. Dimensions: H. 13 3/4 in. (35 cm). Date: ca. 540-530 B.C..Two heraldic roosters flanking an ivy leafVases of this shape, derived from Attic prototypes, were popular products of southern Etruscan workshops probably located at Vulci. As here, they are frequently decorated with a window-like panel that displays the same subject on both sides. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta neck-amphora (jar) with twisted handles ca. 400 B.C. Attributed to the Suessula Painter Obverse, youth departingReverse, libation sceneThe Suessula Painter's name derives from a site in Campania, in southern Italy, where several works of his were found. The Attic vases exported to Italy were a constant source of inspiration for local artists and spurred the development of a flourishing ceramic industry in the fourth century B.C. Although the subject on this vase is time-honored, the prominence of the added white paint represents an innovation.. Terracotta neck-amphora (jar) with twisted handles 249163

Magna Graecia. Red figured amphora decorated with an ephebos holding a mirror. Detail. 4th century BC. From Taranto, Italy. Parfum Museum. Barcelona. Catalonia. Spain.

Lekythos 1st quarter of 5th century B.C. Attributed to the Athena Painter. Lekythos. Greek, Attic. 1st quarter of 5th century B.C.. Terracotta; black-figure, white-ground. Archaic. Vases

Bell Krater: A, Orestes at the Altar of Apollo at Delphi; B, Three standingMen. Artist: Hoppin Painter, Greek, Southern Italy, ca. 380-365 B.C.

Terracotta hydria (water jar). Culture: Greek, South Italian, Campanian. Dimensions: H. 22 1/4 in. (56.5 cm). Date: ca. 360-330 B.C..Funerary statue of a bride flanked by youths and womenIn South Italian vase-painting, the rare representations of funerary statues generally precede the appearance of naiskoi (shrines). This exceptional scene shows the image of a bride with a crown and phiale (libation bowl). She stands on a high base. Tendrils on either side form a kind of arbor, and a hydria and three phialai appear below. Museum: Metropolitan Museum of Art, New York, USA.

Greek civilization, Black-figure pottery. Amphora depicting Theseus fighting Minotaur attributed to the Painter of the Birth of Athena. Detail.

Greece. Red-figure lekythos depicting the Abduction of Helen. Clay. Attica. Late 5th century B.C. From Kerch Peninsula. The State Hermitage Museum. Saint Petersburg. Russia.

Apulian Red-Figure Volute-krater, by Workshop Painters of Patera and Baltimora, IV Century, 340-320, cm 50 diam. orlo cm 30 piede cm 14.7

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