Ancient Greek Vases

Terracotta vases decorated with mythological scenes and heroic narratives, showcasing the intricate artistry and cultural significance of ancient Greek ceramics.

Red -purital pelique with Amazonomachy; Amazon painter (Athens); 2. PO. 4th century BC (-350-00-00--301-00-00);City Museum, National Museum, Szczecin, Vogell Arnold (1892-1905) - collection, Kerczek style

Terracotta hydria (water jar). Culture: Greek, South Italian, Apulian. Dimensions: H. 29 3/4 in. (75.6 cm)diameter 17 3/4 in. (45.1 cm). Date: ca. 340-330 B.C..The abduction of Persephone by Hades surrounded by godsThe myth of the abduction of Persephone was situated in Sicily. Hades' chariot occupies the most prominent area of the vase. All around appear deities connected with the event--Zeus, Hades' brother, whose sanction was needed; Aphrodite and Eros, abettors of Hades' desire; Demeter, Persephone's mother; torch-bearing Hecate; and Athena. The vegetation in the scene and the choice of a water jar as the shape emphasize the aspect of fertility in the story. Mythological subjects such as this commonly decorated funerary vases. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta neck-amphora (jar) ca. 500 B.C. Attributed to the Diosphos Painter Obverse, Thanatos (Death) and Hypnos (Sleep) with the body of SarpedonReverse, Eos (Dawn) with the body of her son, MemnonThe scenes on this jar show two great heroes of the Trojan War being lifted from the battlefield after their deaths. Sarpedon, a son of the god Zeus, will be carried to Lycia, his homeland in southern Asia Minor, and Memnon, to his kingdom in Ethiopia.. Terracotta neck-amphora (jar) 254883

Crater with volute scroll proto-Apulian with red figures, by Pittore della nascita di Dioniso, 400 - 380, 4th Century, . Italy: inv.8264 da Ceglie del Campo. Whole artwork. Crater volute spiral proto-Apulian red figures

Terracotta nestoris (two-handled jar) ca. 350-325 B.C. Attributed to the Primato Painter Obverse, youth flying to an altarReverse, youthThis vase represents the latest phase of Lucanian vase production before its decline. The shape is much simplified in the articulation of the body and handles. The Primato Painter was the last significant Lucanian artist. He draws facilely, with more interest in the trumpet-shaped florals and other vegetal motifs than in the human figure.. Terracotta nestoris (two-handled jar) 254932 : Attributed to the Primato Painter, Terracotta nestoris (two-handled jar), ca. 350325 B.C., Terracotta, H. 18 3/4 in. (47.6 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1957 (57.11.5)

Attic Black-Figure Neck Amphora.

Red -purital pelique with Amazonomachy; Amazon painter (Athens); 2. PO. 4th century BC (-350-00-00--301-00-00);City Museum, National Museum, Szczecin, Vogell Arnold (1892-1905) - collection, Kerczek style

Attic krater red-figure painted by Aison, 5th century b.C. with scene of killing of Leucippus lover of Daphne. Museum: ARCHAEOLOGICAL MUSEUM, FERRARA, ITALIA.

Terracotta neck-amphora (jar) ca. 520 B.C. Attributed to the Medea Group Obverse, Herakles fighting with AmazonsReverse, combat with two women watchingIn this encounter, Herakles confronts two Amazons armed like hoplites (Greek foot soldiers) with spears, while another Amazon, an archer, flees to the left. She wears the tunic and soft leather cap associated with Eastern dress.. Terracotta neck-amphora (jar). Greek, Attic. ca. 520 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta neck-amphora (jar) ca. 520 B.C. Attributed to the Antimenes Painter Obverse, Herakles bringing the Erymanthian Boar to King EurystheusReverse, Ajax carrying the body of AchillesThe Greek hero Achilles was killed at Troy by an arrow that pierced his heel, the only vulnerable spot on his body. Though shot by Paris, the arrow was guided to its mark by Apollo. After Achilles fell, a fierce conflict erupted for possession of his body. While Odysseus kept the Trojans at bay, Ajax carried the corpse back to the Greek encampment. Depictions of Ajax bearing his fully armed comrade always emphasize Achilles' weight. One can assume that a warrior's equipment weighed almost as much as he did.. Terracotta neck-amphora (jar). Greek, Attic. ca. 520 B.C.. Terracotta; black-figure. Archaic. Vases

Attic Black-Figure Lekythos with (Body) Dionysos between Maenads and Satyrs and (Shoulder) a Seated Man between Women and Men. Greece, Athens, circa 540 B.C.. Furnishings; Serviceware. Ceramic

Column crater. Ceramics with red figures with highlights of white and yellow. Apulie (Italy), mid -4th century BC. AD Museum of Fine Arts of the City of Paris, Petit Palais. 59721-7 Antiquity, Greek-Roman antiquity, ancient art, white, drink, ceramic, cratere, column crate, red figure, large Greece, yellow, ancient period, container, rehabet, terracotta, vase, ancient vase

Black-Figure Lekythos (Oil Vessel): Komos (Revel), c. 500 BC. Attributed to The Group of Cleveland 16.1061 (name vase). Ceramic; overall: 27 cm (10 5/8 in.).

Terracotta neck-amphora (jar) ca. 540-530 B.C. Attributed to the Swing Painter Obverse, Poseidon fighting giantReverse, Judgement of ParisThe gods of Mount Olympos had to overcome several threats before their primacy was established. One was a great conflict with the giants. Here Poseidon, the god of the sea, overcomes Polybotes with a boulder that is, in fact, a piece of the island of Kos that he has broken off. The Judgement of Paris involved a potential threat as well, because it began a chain of events that led to the Trojan War. The sea nymph Thetis was fated to bear a son who would be greater than his father; she was therefore married to the mortal Peleus to whom she bore Achilles.. Terracotta neck-amphora (jar). Greek, Attic. ca. 540-530 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta lekythos (oil flask) ca. 550-530 B.C. Attributed to the Amasis Painter 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.. Terracotta lekythos (oil flask). Greek, Attic. ca. 550-530 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta neck-amphora (jar) ca. 540-520 B.C. Attributed to the Phineus Painter Obverse, youth on horseback.Reverse, man and youths.. Terracotta neck-amphora (jar) 254645 : Attributed to the Phineus Painter, Terracotta neck-amphora (jar), ca. 540520 B.C., Terracotta, restored H. 12 5/8 in. (32 cm); preserved H. 9 in. (22.8 cm). The Metropolitan Museum of Art, New York. Gift of El Conde de Lagunillas, 1949 (49.113)

Terracotta amphora (jar) ca. 530 B.C. Attributed to the manner of the Lysippides Painter 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.. Terracotta amphora (jar) 254872 : Attributed to the manner of the Lysippides Painter, Terracotta amphora (jar), ca. 530 B.C., Terracotta, 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). The Metropolitan Museum of Art, New York. Fletcher Fund, 1956 (56.171.14)

Krater with decoration depicting Greeks fighting Amazons. Second half of 5th century BC. Made in Athens. From Montesarchio. National Archeological Museum Sannio Caudino. Montesarchio. Italy.

Terracotta neck-amphora (jar) ca. 530 B.C. Attributed to an artist near Exekias Obverse, Apollo between Hermes and goddessReverse, Memnon between his Ethiopian squiresIn the Trojan War, Memnon, the son of Tithonos and Eos, the goddess of the dawn, led a contingent of Ethiopians allied with the Trojans. He was killed by Achilles in a duel watched by their mothers. The present condition of the vase provides insight into the painter's working method. Memnon's shield was drawn with a compassthe circles are evidentand it would have been painted in added white directly onto the clay. Without the white, we can see the cursory sketch that the artist drew for the figure's torso.. Terracotta neck-amphora (jar) 246725

Krater dzwonowy czerwonofigurowy ze sceną przygotowań do święta dionizyjskiego. Malarz Lykaona

Terracotta hydria (water jar). Culture: Greek, Attic. Dimensions: Overall: 19 3/4 x 15 1/2in. (50.1 x 39.4cm)diameter of mouth 8 1/2in. (21.6cm)diameter of body 12 3/16 in. (30.9 cm). Date: ca. 560 B.C..On the body, foot soldier and horsemanOn the shoulder, chorus: flute player and dancersThis vase contributes to our knowledge of the earliest theatrical performances. The figures can be identified by their garments and particularly by the animal ears tucked into their headbands. With the assistance of contemporary representations, it is possible to relate the chorus to performances that took place before the main theatrical event. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta neck-amphora (jar) ca. 510 B.C. Greek, Attic Introduced on vases and monuments of the sixth century B.C. and becoming less popular after 510 B.C., the motif of Herakles struggling with a sea deity is predominantly Attic. On one side, Herakles stands over Triton, an angry fish-tailed monster; on the other, a calm is represented with Nereus, father of the sea, in the company of two of his daughters, the nereids. It has been suggested that perhaps the story of Herakles and Triton alludes to Athenian maritime victory under the Pisistratid rule.. Terracotta neck-amphora (jar) 254551 Greek, Attic, Terracotta neck-amphora (jar), ca. 510 B.C., Terracotta, H. 40.3-40.5 cm. Diameter 27.3 cm. . The Metropolitan Museum of Art, New York. Gift of Mrs. Edward Robinson, 1946 (46.92)

Attic Red-Figure Kalpis. Attributed to the Eucharides Painter (Greek (Attic), active about 500 - 470 B.C.)

Column-Krater (Mixing Bowl). Greek; Athens; Attributed to a Member of the Earlier Mannerist Group. Date: 460 BC. Dimensions: 46.5 × 45.6 × 38 cm (18 1/4 × 18 × 15 in.). Terra-cotta, decorated in the red-figure technique. Origin: Athens. Museum: The Chicago Art Institute, Chicago, USA. Author: ANCIENT GREEK.

Attic Black-Figure Amphora; Athens, Greece; about 520 B.C; Terracotta; 43.8 cm (17 1,4 in.)

Terracotta psykter (vase for cooling wine). Culture: Greek, Attic. Dimensions: Overall: 13 5/8 x 11in. (34.6 x 28cm). Date: ca. 520-510 B.C..Athletes practicing in gymnasiumThe name of each figure is inscribed: the flute player, Smikythos; the diskos thrower, Antiphanes, and his trainer, Antimenes; the broad jumper, Dorotheos ("he is going to jump"); the javelin thrower, Batrrachos; Kleainethos, the judge crowning the boy fair Epainetos, and his trainer, Alketes. Two inscriptions refer to the vase itself: "drink me" and "I open my mouth wide.". Museum: Metropolitan Museum of Art, New York, USA.

Terracotta hydria (water jar) ca. 420-400 B.C. Attributed to the Amykos Painter Two women presenting gifts to two youthsThe Amykos Painter was a prolific artist who invented a repertoire of stock figural types for his less ambitious works. The youths here are characterized as athletes by their nudity, the gifts of a fillet and wreath, and the strigil (scraper) held by the rightmost figure.. Terracotta hydria (water jar). Greek, South Italian, Lucanian. ca. 420-400 B.C.. Terracotta; red-figure. Classical. Vases

Bell-Krater with (A) the Centaur Chiron Accompanied by a Satyr and (B) Two Youths. 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

Column Krater (Mixing Bowl) 460 BCE-450 BCE Greece. On the front of this vase are four youths the centre pair younger, tightly wrapped in himatia, the flankers, older, that on the left holding a stick, on the right a scraper. Hung up between the pairs is a large sponge (no sign of an aryballos). On the reverse are three youths in himatia. On the left, one faces to the right and gestures with his right hand; the one in the centre faces right but makes no gesture; that on the right faces left seems to move forward and gestures with his right hand.The figured scenes are framed on either side by a double row of blobs, below by a red line and above by a frieze of tongues. The front of the neck is decorated with a frieze of linked elongated buds; the back is undecorated. On the edge of the rim is a double row of blobs and on the top a frieze of linked lotus buds, as on the neck, with a palmette complex on both handle plates.. terracotta, decorated in the red-figure technique . Ancient Greek

Terracotta column-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: H. 13 in. (33 cm)diameter 14 1/2 in. (36.8 cm). Date: ca. 520-510 B.C..Within the mouth, ships and dolphinsOn the body, obverse, the struggle between Herakles and Apollo for the Delphic tripod; reverse, onlookersRepresentations of Herakles' attempt to seize the tripod from the oracle of Apollo at Delphi were popular in Attic vase-painting from the end of the sixth century B.C. to the mid-fifth. In addition to featuring the local hero, Herakles, they afforded artists the opportunity to depict two male figures in motion. This challenge particularly interested practitioners of the newly introduced red-figure technique, but it also spurred black-figure artists who wished to remain up-to-date. Museum: Metropolitan Museum of Art, New York, USA.

Apulian red-figured oinochoe with a long neck, by workshop Ilioupersis Painter, IV Century, 360-350, cm 30 diamentro piede 7.1 cm

Amphora depicting a knight and squire, black-figure pottery, Italy. Ancient Greek civilization, Magna Graecia.

Black-figure pottery, dipper cup from Vulci, by Tityos Painter

Greek pot with Odysseus and the sirens. Madrid, Private collection. Location: PRIVATE COLLECTION. MADRID. SPAIN. ULISES.

Terracotta Nolan neck-amphora (jar). Culture: Greek, Attic. Dimensions: H. 13 5/8 in. (34.6 cm); diameter 7 1/4 in. (18.5 cm); diameter of foot 3 11/16 in. (9.4 cm); diameter of mouth 6 in. (15.2 cm). Date: ca. 470-460 B.C..Obverse, Eos (the goddess of the dawn) pursuing TithonosReverse, bearded manThe winged goddess Eos will capture Tithonos, a young Trojan prince, as he goes to school in the early morning and take him to Mount Olympos to be her lover. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta stamnos (jar) ca. 350 B.C. Attributed to the Captives Group Obverse and reverse, satyr and maenadFalerii Veteres (modern Civita Castellana) was the home of a very active pottery workshop beginning about 380 and continuing throughout the rest of the fourth century B.C. It supplied vases, especially large banquet shapes like the stamnos, to clients along the Tiber Valley. This stamnos depicts a favorite subject ultimately derived from Attic prototypes, satyrs cavorting with maenads.. Terracotta stamnos (jar). Faliscan. ca. 350 B.C.. Terracotta; red-figure. Late Classical. Vases

Lekythos ca. 500 B.C. Greek, Attic. Lekythos. Greek, Attic. ca. 500 B.C.. Terracotta; black-figure. Archaic. Vases

Red-figure pottery, calyx krater depicting Neoptolemus, Astyanax, Helen of Troy and Priamo on ground, by Nazzano Painter, from Civita Castellana

Attic volute krater representing athletes and aulos player, 470 BC, by the Altamura painter, red-figure pottery from Tomb 381 in the Necropolis of Valle Trebba, Emilia-Romagna, Italy. Italic Civilization, 5th Century BC.

Red-figure Bell Krater with PrometheusFire-Lighter. Artist: Painter of Louvre G433, active late 5th century BCE

Red-figure pottery, Attic bilingual amphora depicting Heracles and bull

Red-Figure Volute Krater; Attributed to Kleophrades Painter (Greek (Attic), active 505 - 475 B.C.); Athens, Greece; 500 - 480 B.C; Terracotta; 56.9 × 46.9 cm (22 3,8 × 18 7,16 in.)

Terracotta bell-krater (bowl for mixing wine and water) ca. 460 B.C. Attributed to the Danaë Painter Obverse, woman playing lyre and two women listeningReverse, womenThe scene here has an intimacy that is exceptional in Greek vase-painting. In an indoor setting, a seated woman plays the lyre. Before her stand two women, one of whom rests her chin and hands on the shoulder of the other. The listeners are enraptured by what they hear. All of the elements in the representation reflect daily life in mid-fifth century B.C. Athens. It is nonetheless tempting to see the subject in more specific terms. One scholar has suggested that the women might be muses. Another possibility is that the performer is the poetess Sappho, who appears on several black-figured and red-figured vases. Listen to experts illuminate this artwork's story Listen Play or pause #1054. Terracotta bell-krater (bowl for mixing wine and water), Part 1 Play or pause #1456. Terracotta bell-krater (bowl for mixing wine and wate

Terracotta squat lekythos (oil flask) ca. 450-430 B.C. Greek, Attic This type of lekythos must have been commonly used by women, because examples are often decorated with scenes such as this.. Terracotta squat lekythos (oil flask). Greek, Attic. ca. 450-430 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta calyx-krater (bowl for mixing wine and water) ca. 450-440 B.C. Attributed to the Nekyia Painter Above, obverse and reverse, Herakles, Theseus, and Perithoos in HadesBelow, obverse, Apollo and Tityos; reverse, Zeus and giantThis important vase illustrates one of the stories that would have been sung or recited. To atone for having killed his wife and children in a fit of madness, Herakles entered the service of King Eurystheus of Tiryns, who imposed twelve tasks on him. The most difficult was to fetch Kerberos, the watchdog of the underworld. In the upper zone, Herakles with his guide, Hermes, stands beside Theseus and Perithoos, who were punished for attempting to carry off Persephone. Hades, the king of the underworld, is shown behind Perithoos. Around the circumference of the vase appear other heroes known chiefly from the Iliad and the Odyssey, each with his name inscribed. The two scenes in the lower zone depict further mythological punishments.. Terracotta calyx-krater

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

Black-figure pottery Oenochoe depicting Ulysses burning stake to blind Polyphemus

Red -ande -figure amphora; Painter Alkiachosa (approx. 470-440 BC); 470-440 BC (-470-00-00--440-00-00);

Mastoid ca. 500-490 B.C. Attributed to the manner of the Haimon Painter. Mastoid. Greek, Attic. ca. 500-490 B.C.. Terracotta; black-figure. Archaic. Vases

Proto-Paestan Red-Figure Calyx Krater. Attributed to the Painter of Louvre K 240 (Greek, active about 375 - 350 B.C.)

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

Lekyt aryballosowy z przedstawieniem siedziącej kobiety. nieznany warsztat apulijski

Mug with Bathing Athlete; Eretria Painter (Greek (Attic), active 440 - 410 B.C.); Athens, Greece; 430 - 420 B.C; Terracotta; 8.7 × 8.3 cm (3 7,16 × 3 1,4 in.)

Belly-Amphora (Storage Jar) 550 BCE-540 BCE Athens. Ancient artists frequently depicted events from the life of the demigod Herakles, especially the Twelve Labors he had to complete to attain immortality. On this amphora (storage jar) the great hero completes his first assignmentóto kill a lion with an invincible hide that was terrorizing the village of Nemea. Here the contest has been decided; Herakles strangles the lion, whose jaws he has pried open with his bare hands. To the right stand Athena and Hermes; on the other stand a nymph and Iolaos, Heraklesís nephew and companion. In subsequent episodes, Herakles often wears the lionís pelt, either as a headdress or over his arm, as a protective cloak.These vases were used for the transport and storage of items such as wine and olives, and they were given as prizes in athletic competitions. Many vases have been damaged, either in antiquity or in modern times, and repaired. However, this amphora remains intact, with only a few losses, su

Terracotta neck-amphora (jar). Culture: Greek, Attic. Dimensions: H. 16 1/8 in. (41 cm.)Diameter of mouth 7 1/4 in. (18.4 cm.)Diameter of foot 5 15/16 in. (15 cm.). Date: ca. 510 B.C..Obverse, Herakles, Deianeira, and NessosReverse, centaurs beat the lapith Kaineus into the groundInscription: obverse, Herakles; reverse, Dase, SimiasCentaurs are represented on both sides of this vase. The scene on the obverse was popular beginning in the seventh century B.C. According to myth, the centaur Nessos attacked Deianeira and Herakles rescued her, shooting the beast with an arrow poisoned with the Hydra's blood. But on this particular vase and on most illustrated depictions of this myth, Herakles attacks Nessos with his sword. Museum: Metropolitan Museum of Art, New York, USA.

Storage Jar; Attributed to Painter of Acropolis 606 (Greek (Attic), active 570 - 560 B.C.); Athens, Greece; about 570 - 560 B.C; Terracotta; 36.5 × 26.7 cm (14 3,8 × 10 1,2 in.)

Apulian situla, 375-350 BC red-figure pottery from Rutigliano, Apulia, Italy. Detail of a love scene on side A. Ancient Greek civilization, Magna Graecia, 4th Century BC.

Black-figure calyx-krater by Exequias in 530 BC, an ancient Greek vase painter and potter active in Athens between roughly 550 BC and 525 BC. The piece depicts two scenes: on one side, the deification and introduction of Heracles into Olympus; on the other, combat of Greek and Trojan heroes over the body of Patroclus. Museum of the Ancient Agora. Athens, Greece.

COMBATE DE AYAX Y ULISES POR LAS ARMAS DE AQUILES - LEKHYTOS DE FONDO BLANCO - CERAMICA ATICA - 500 AC - PROCEDENTE DE ERETRIA. Author: PINTOR DE EDIMBURGO. Location: MUSEO DEL LOUVRE-CERAMICA. France. ULISES. AYAX (AJAX). AJAX (AYAX).

Terracotta bell-krater (bowl for mixing wine and water) ca. 450 B.C. Attributed to the Methyse Painter 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 Dionysosslow-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.. Terracotta bell-krater (bowl for mixing wine and water) 247965

Terracotta Nolan neck-amphora (jar). Culture: Greek, Attic. Dimensions: H. 13 1/4 in. (33.7 cm); diameter 6 7/8 in. (17.5 cm). Date: ca. 440-430 B.C..Obverse, youth with spears pursuing womanReverse, womanCompared with the Achilles Painter whose student he was, the Phiale Painter shows a greater predilection for mythological scenes and active figures. The subject depicted here cannot be certainly identified. It may represent the hero Theseus, who engaged in various amorous pursuits as he made his way from Troizen, where he was born, to Athens. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta lekythos (oil flask) 2nd quarter of 5th century B.C. Attributed to the Carlsruhe Painter Woman jugglingThe scene here complements the one on a lekythos exhibited close by, in which the juggling woman is seated. The presence of the kalathos (wool basket) suggests that the woman may be playing with balls of wool.. Terracotta lekythos (oil flask). Greek, Attic. 2nd quarter of 5th century B.C.. Terracotta; red-figure. Classical. Vases

Amphora depicting Apollo and Artemis

Lekythos 6th century B.C. Attributed to the Haimon Painter. Lekythos. Greek, Attic. 6th century B.C.. Terracotta; black-figure. Archaic. Vases

Helena s bath in front of Aphrodite Helena s bath in front of Aphrodite, 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 21714822

Attic Red-Figure Kalpis; Attributed to the Kleophrades Painter, Greek (Attic), active 505 - 475 B.C.; Athens, Greece, Europe; about 490 B.C.; Terracotta; Object: H: 40.6 cm (16 in.)

Oil Jar with a Woman at Her Toilette; Circle of Phiale Painter (Greek (Attic), active about 450 - 425 B.C.); Athens, Greece; about 450 B.C; Terracotta; 31.6 × 10.5 cm (12 7,16 × 4 1,8 in.)

Fragmentary Apulian Red-Figure Calyx Krater. Black Fury Group (Greek (Apulian), active early 300s B.C.)

Terracotta hydria: kalpis (water jar) ca. 500 B.C. Attributed to the Berlin Painter Achilles and PenthesileaPenthesilea, the queen of the Amazons who assisted the Trojans in the Trojan War, was killed by the Greek hero Achilles. He fell in love with her even as he dealt the mortal blow. The Berlin Painter wraps the figures diagonally around the shoulder of the kalpis. For artistic effect, Penthesilea is disproportionately tall and assumes an unnaturally balletic pose. The composition, however, is admirably appropriate for its placement.. Terracotta hydria: kalpis (water jar). Greek, Attic. ca. 500 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta pelike (jar) mid-5th century B.C. Attributed to an artist near the Chicago Painter Obverse, Apollo and his sister, Artemis, pouring libation at altarReverse, two womenDressing in a long chiton, Apollo holds a kithara, the stringed instrument used for professional and public performances. He appears here in his role as leader of the nine muses and patron of the arts. Artemis pours liquid into the phiale held by her brother, and he in turn pours a libation onto the altar between them.. Terracotta pelike (jar). Greek, Attic. mid-5th century B.C.. Terracotta; red-figure. Classical. Vases

Krater depicting a battle scene. A Samnite strikes a warrior on the ground next to a tree. Detail. Made in Campania. From Montesarchio. Libation Painter. 350-325 BC. National Archeological Museum Sannio Caudino. Montesarchio. Italy.

Group of men dresses up as birds. 500 AD. Ceramics decorated with black shapes. Classical Greek art. Ceramics. UNITED KINGDOM. ENGLAND. London. The British Museum.

CERAMICA IBERICA - VASO DE LOS GUERREROS PROCEDENTE DEL POBLADO DE SAN MIGUEL DE LIRIA. Location: MUSEO DE PREHISTORIA Y ARQUEOLOGIA. Valencia. SPAIN.

Terracotta squat lekythos 450-425 B.C. Attributed to the Carlsruhe Painter Nike running to an altarNike, the personification of victory, runs to an altar with outstretched arms. Despite the loss of glaze, it is possible to surmise that Nike held a wreath in her hands. This is a common attribute of the goddess, since it is the quintessential symbol of that which she embodies.. Terracotta squat lekythos 254324 : Attributed to the Carlsruhe Painter, Terracotta squat lekythos, 450425 B.C., Terracotta, H. 4 3/16 in. (10.7 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1941 (41.162.153)

Red-figured bell-krater depicting three revellers from ancient Greece. Dated 5th Century BC

Oil Jar with a Young Man Arming; Attributed to Douris (Greek (Attic), active 500 - 460 B.C.); Athens, Greece; 500 - 490 B.C; Terracotta; 33.5 × 12.6 cm (13 3,16 × 4 15,16 in.)

Attic Black-Figure Mastos. Attributed to Psiax (Greek (Attic), active about 525 - 510 B.C.)

Terracotta calyx-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: H. 12 in. (30.5 cm). Date: 2nd half of 5th century B.C..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. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta Nolan neck-amphora (jar) ca. 480 B.C. Attributed to the Providence Painter Obverse and reserve, satyr pursuing maenad. Terracotta Nolan neck-amphora (jar). Greek, Attic. ca. 480 B.C.. Terracotta; red-figure. Classical. Vases

Krater Aristonothos, side depicting naval battle, from Cerveteri (Rome province, Italy)

CERAMICA GRIEGA - CRATERA DE FIGURAS ROJAS. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPAIN.

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia73. 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.

Red-Figure Skyphos with (A) Satyr and (B) Maenad

Germany, Bavaria, Munich, Glyptothek and State Collections of Antiquities Museum, Exhibit of Daunian Pottery Vessel

Vessel Depicting a Mythological Scene 600 CE-800 CE Guatemala. Ceramic and pigment . Maya

Lekythos showing a DomesticScene. Artist: Painter of the Yale Lekythos (name vase), Greek, Attic, ca. 475-450 B.C.

Vessel, 1910, 10 3/4 x 11 1/2 in. (27.31 x 29.21 cm), Ceramic, pigment, United States, 20th century, Zia artists often paint their beautiful ceramics with themes taken from the world around them, and have done so for centuries. Bird and feather imagery appears frequently on their hand-built vessels, usually accompanied by foliage, flowers and sometimes berries. The birds on this pot are modeled after roadrunners, an animal native to the Zia Pueblo area. Roadrunners are usually colored red by Zia artists, so these are especially striking for being yellow, which was an individual design choice for this vessel. The painter's skill is demonstrated in the assurance evident in the strong clean lines, lively composition and harmonious combination of naturalistic elements.

Terracotta kylix (drinking cup) ca. 510 B.C. Signed by Epiktetos Komast (reveler) with skyphos (deep drinking cup) and oinochoe (jug)Among the very early red-figure artists who specialized in kylikes, Epiktetos was one of the most accomplished. The ease of execution, combined with the elegant simplicity of the shape and decoration, represents Greek vase-painting at its finest. It is certainly intentional that the skyphos is so much larger than the oinochoe and that it is balanced on his forearm.. Terracotta kylix (drinking cup). Greek, Attic. ca. 510 B.C.. Terracotta; red-figure. Archaic. Vases

Terracotta Krater (Large vase), Greek, 725BC Depicts a funeral scene

Attic Red-Figure Squat Lekythos; Perhaps by a follower of Polygnotos (Greek (Attic), active 450 - 430 B.C.); Athens, Greece; late 5th century B.C; Terracotta; 14.6 × 3.8 cm (5 3,4 × 1 1,2 in.)

Napoli - Museo Nazionale. Vaso a girelle con un combattimento fra Greci ed Amazzoni (Ruvo) , Antiquities, Vases. Nicholas Catsimpoolas Collection

HERCULES COMBATE CONTRA HIPOLITA REINA AMAZONA - CERAMICA GRIEGA DE FIGURAS ROJAS. Location: ARCHAEOLOGICAL MUSEUM. Arezzo. ITALIA.

Terracotta jug ca. 750-600 B.C. Cypriot A horse without any harness moves to the right. On his back stands a small figure wearing a garment around his lower body. Representations of horses, horsemen, carts, and chariots are quite common in Cypriot Archaic art, indicating that these were familiar subjects observed firsthand. Unusual as it may seem, the figure on the animal's back recalls genies, winged and wingless, who are ultimately of eastern origin and appear in various contexts in the Greek world. This individual may have counterparts in an Attic representation of the stables of Poseidon by the Amasis Painter (Judy and Michael H. Steinhardt Gallery, 1989.281.62).. Terracotta jug 240126

Lazio Viterbo Viterbo Museo Civico88. 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-

Amphora. Genick, A.. still image. Prints. 1883. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection. Amphoras, Kidnappings, War destruction & pillage, Pottery , Greece, Painting, Greek

Attic Red-Figure Pelike; Athens, Greece; 450 - 440 B.C; Terracotta; 29.8 cm (11 3,4 in.)

Terracotta calyx-krater (bowl for mixing wine and water) 4th century B.C. Greek, Attic Obverse, the death and apotheosis of HeraklesReverse, Amymone surprised by satyrsHorribly burned by a charm that his wife gave him in a misguided attempt to revive his love, Herakles had a funeral pyre built and threw himself on it to die. In the elaborate scene on the obverse, he is already in a quadriga (four-horse chariot) driven by Nike and preceded by Hermes and is on the way to Mount Olympos, where Dionysos, Apollo, and Ares await him. Herakles leaves behind on the fire a corselet signifying the husk of his mortal self. Below, Athena urges nymphs to quench the funeral pyre. The youths are Herakles' nephew, Iolaos, the hero Philoktetes (with quiver and bow), and probably Herakles' son, Hylos.The scene on the reverse is in rather light-hearted contrast. Beset by satyrs, Amymone is defending herself with an available thyrsos. She was finally rescued by Poseidon, who took her for himself. A spring,

Heracles and the Nemean Lion, Greek vase, 6th century B. C. Museum of Fine Arts, Boston , Vases, Lions, Supernatural beings, Antiquities, Nemean lion Greek mythology, Heracles Greek mythological character. Nicholas Catsimpoolas Collection

Herakles stag night party, bell crater from the funerary chamber of Prince Iltirtiiltir, 4th century BC, necropolis of Piquia, Arjona, Iberian culture, Iberian Museum of Jaén, Andalusia, Spain.

Fragment of an Apulian Red-Figure Bell Krater; Black Fury Group, Greek (Apulian), active early 300s B.C.; South Italy, Apulia, Europe; about 375 - 350 B.C.; Terracotta; Object: H: 19 x W: 18.5 cm (7 1/2 x 7 5/16 in.)

PELIKE CON VENDEDORA. GRIEGO CERAMICA. (DEPOSITO: MUSEO ARQUEOLOGICO NACIONAL).

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