Ancient Greek Vases and Craters

Various classic Greek vessels adorned with intricate red and black figures, depicting gods, mythological scenes, and everyday life in historical artistic styles.

Hydria, 530 BC, attributed to the Swing Painter, black-figure pottery, Italy. Ancient Greek civilization, Magna Graecia, 6th Century BC.

Attic handled crater with red figures (the Pronomos Vase), by Painter Pronomos, 400, 5th Century, . Italy: Campania: Naples: National Archaeological Museum: inv.81673 - ex Museo Borbonico 3240 -. Whole artwork. Attic crater with handles and red figures Pronomos vase handles laurel palmettes plant volutes berries Dionysus Arianna theatrical mask Hercules/Heracles/Herakles Papposilenus flute player Pronomos coreuta (Greek choir or dancer)

Black-Figure Neck Amphora. Unknown

Amphora (Storage Jar) 490 BCE-480 BCE Greece. On one side of this vase, Dionysos is flanked by satyrs. The god moves to the right but looks back to the left. He holds up a kantharos (drinking cup) in his left hand. Both satyrs move to the right; that on the left is ithyphallic and plays a kithara. On the other side, a maenad wearing a sakkos (hat) and holding a krotala is flanked on either side by a satyr.. terracotta, decorated in the black-figure technique . Michigan Painter

Lebes gamikos z przedstawieniem kobiety ze szkatułką i Erosa z lustrem. unknown, author

Hydria, 530 BC, attributed to the Swing Painter, black-figure pottery, Italy. Ancient Greek civilization, Magna Graecia, 6th Century BC.

Terracotta hydria (water jar) Attributed to the Group of Naples 3227 ca. 350-320 BCE On the body, return of a mounted warriorOn the shoulder, tritonsUnder the handles, head of a womanAn Italic warrior, wearing the characteristic plumed helmet, is greeted by a woman who holds the horse's bridle and an attendant carrying the oinochoe and phiale (jug and libation bowl) for an offering. The scene is remarkable for the freshness of the color. Of equal note are the triton and tritoness on the shoulder. The rarity of marine mythology in South Italian vase-painting contrasts greatly with Athenian practice.

Terracotta neck-amphora (jar) last quarter of 6th century B.C. Greek, Attic Obverse, Aeneas and AnchisesReverse, departure of a hoplite and archerAeneas is fleeing Troy carrying his aged father on his back. Aeneas' long journey ultimately brought him to Italy where he became the legendary founder of Rome.. Terracotta neck-amphora (jar) 254342

Terracotta neck-amphora (jar) ca. 520 B.C. Attributed to the Medea Group Obverse, Herakles and TritonReverse, courting sceneHerakles wrestling the sea creature Triton was a particularly appropriate decoration for hydriai (water jars). Though the observers are not central to the action, it is interesting to see how they are treated. When they stand and watch, they seem to be onlookers at the scene. When they sit, as here, they seem to be and audience listening to a story.. Terracotta neck-amphora (jar). Greek, Attic. ca. 520 B.C.. Terracotta; black-figure. Archaic. Vases

Column-Krater with Dionysos Marching with Two Satyrs. Boreas Painter and to the Florence Painter (related to the) (Greece, about 460 B.C.). Greece, Attica, circa 460 B.C.. Furnishings; Serviceware. Red-figure ceramic wtih added red and traces of white

Terracotta oinochoe: olpe (jug) ca. 470-460 B.C. Attributed to the Group of Berlin 2415 Man standing before statue of AthenaThis figure of Athena stands in the same pose as a small marble statue of the goddess dedicated by a certain Angelitos on the Athenian Akropolis about 480 B.C. The heavy drapery and quiet stance are typical of the so-called severe style that marked sculpture during the second quarter of the fifth century B.C., but here Athena turns her head to look straight at the man who raises his hand in veneration.. Terracotta oinochoe: olpe (jug). Greek, Attic. ca. 470-460 B.C.. Terracotta; red-figure. Classical. Vases

Apulian red-figured bell-shaped krater, by Schiller Painter, IV Century, 375-370, cm 41 diamentro orlo 41.7 cm - piede 18 cm

Attic Black-Figure Amphora Type B. Attributed to Swing Painter (Greek (Attic), active about 550 - 525 B.C.)

Attic Black-Figure Oinochoe; Akin to Leagros Group (Greek (Attic), active 525 - 500 B.C.); Athens, Greece; about 510 B.C; Terracotta; 22 × 9.3 cm (8 11,16 × 3 11,16 in.)

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

Black-figurelekythos

Terracotta Nolan neck-amphora (jar) mid-5th century B.C. Attributed to the Painter of London E 317 Obverse, seated woman receives casket from maidReverse, youth. Terracotta Nolan neck-amphora (jar) 251488 : Attributed to the Painter of London E 317, Terracotta Nolan neck-amphora (jar), mid-5th century B.C., Terracotta, H. 12 5/16 in (31.3 cm) Diameter 6 11/16 in (17 cm). The Metropolitan Museum of Art, New York. Fletcher Fund, 1924 (24.97.27)

Terracotta bell-krater (bowl for mixing wine and water) ca. 440 B.C. Attributed to the Painter of London E 497 Obverse, Orpheus among the ThraciansReverse, libation sceneOrpheus, the best known of the mythical musicians, is associated with Thrace in the northernmost part of Greece. After he had descended into the underworld to find his beloved wife, Eurydice, and had lost her, he withdrew into solitude. Feeling rebuffed, Thracian women set upon Orpheus and killed him. Here he is shown seated on a rock formation and engrossed in his music. The central figure, wearing typical Thracian dress, identifies the setting, while the woman who holds a sickle in her left hand foreshadows Orpheus's fate.. Terracotta bell-krater (bowl for mixing wine and water). Greek, Attic. ca. 440 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta lekythos (oil flask). Culture: Greek, Attic. Dimensions: H. 8 in. (20.3 cm). Date: late 6th century B.C..Ajax and Achilles playing a board game, and AthenaDuring the second half of the sixth century B.C., a popular subject was that of the Greek heroes Ajax and Achilles playing a board game to while away their time during the siege of Troy. The most famous representation occurs on an amphora now in the Vatican Museums. Exekias, perhaps the greatest black-figure artist, made and painted the amphora, and he may also have invented the iconography. The subject was applied to all manner of other vases, as this representative example indicates. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta hydria (water jar) ca. 560 B.C. Attributed to the Circle of the Lydos 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.. Terracotta hydria (water jar). Greek, Attic. ca. 560 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta neck-amphora (jar) with twisted handles ca. 480 B.C. Attributed to the Matsch Painter Obverse, old man and warrior Reverse, man leaning on staffThe vase depicts a warrior's departure. The representation on the obverse is particularly expressive, with the two figures presented as virtual mirror imagesthe older man leaning on his staff, the warrior holding his spear, and the two shafts crossing at the bottom.. Terracotta neck-amphora (jar) with twisted handles. Greek, Attic. ca. 480 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta squat lekythos (oil flask) ca. 440-430 B.C. Attributed to the Painter of Munich 2363 AmazonsThe subject is unclear. Indistinct lines indicating the terrain show that the archer is lying on the ground, either asleep or dead. The other figure seems to be coming to rouse her. The open eye on the shield identifies the critical element in the situationwill the fallen figure open her eyes or not?. Terracotta squat lekythos (oil flask). Greek, Attic. ca. 440-430 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta bell-krater (bowl for mixing wine and water) ca. 460-450 B.C. Attributed to the Villa Giulia Painter Obverse, Apollo between Leto and ArtemisReverse, old king between two womenThe bell-krater with handles became popular during the second quarter of the fifth century B.C. The Villa Giulia Painter used the ample surface to depict dignified, statuesque figures. Apollo, the god of music, appears here with his mother, Leto, and sister, Artemis, the goddess of the hunt, as they offer libations; all have their names inscribed. On the reverse, an elderly man with a scepter faces a woman with a phiale (libation bowl) and oinochoe (jug). The conceit of depicting gods and mortals preparing libations is a recurrent themecompare the Berlin Painter's stamnos (1988.40) in a nearby case.. Terracotta bell-krater (bowl for mixing wine and water). Greek, Attic. ca. 460-450 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta oinochoe: chous (jug). Culture: Greek, Attic. Dimensions: H. 2 15/16 in. (7.5 cm). Date: 2nd half of 5th century B.C..Children playing at, or parodying, a Dionysiac procession. Museum: Metropolitan Museum of Art, New York, USA.

Volute Krater Vase. Josiah Wedgwood (England, 1730-1795)Wedgwood (England, Staffordshire, founded 1759). England, circa 1780. Furnishings; Serviceware. Stoneware with metallic-oxide stain, slip decoration, and enamel; encaustic decoration (black basalt)

Terracotta skyphos (deep drinking cup) mid-4th century B.C. Attributed to the Painter of the Villa Giulia 1664 Obverse, youth with Eros.Reverse, winged female figure. Terracotta skyphos (deep drinking cup) 246555

Squat lekythos 4th century B.C. Greek, Attic. Squat lekythos. Greek, Attic. 4th century B.C.. Terracotta; red-figure. Late Classical. Vases

Amfora szyjowa czarnofigurowa z przedstawieniem tańczących menad. Diosphos Painter, author

Panatenaic Amphora (Vase) Greek Art Museo Archeologica Naples, Italy

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

Attic Black-Figure Hydria; Attributed to Leagros Group (Greek (Attic), active 525 - 500 B.C.); Athens, Greece; about 510 B.C; Terracotta; 47.5 cm (18 11,16 in.)

Greek Art. Red figure pottery. Ny Carlsberg Glyptotek. Copenhague. Denmark.

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

Dep. Sport, purchase (provenance)

Black-figure pottery. Hydria depicting Heracles arriving in Hades leading Cerberus, Eurystheus taking refuge in pithos from Cerveteri, Rome, circa 530 b.c.

Terracotta neck-amphora (jar) with lid and knob (27.16). Culture: Greek, Attic. Dimensions: H. 18 1/2 in. (47 cm)diameter 9 3/4 in. (24.8 cm). Date: ca. 540 B.C..On the body, obverse and reverse, man and woman in chariot accompanied by woman and kithara playerOn the shoulder, combat of foot soldiers and horsemenBlack-figure was a cumbersome, restricted, and quite artificial technique. The vases in this room testify to the variety of effect and the forcefulness of expression that is nonetheless permitted. Probably the greatest single black-figure artist was Exekias, who was both potter and painter. Although the essential ingredients of this work are traditional, its particular character is evident in the robust shape, the extraordinary precision and vitality in the figures and ornament, and the perfect relation of the decorative elements to the body beneath. Museum: Metropolitan Museum of Art, New York, USA.

Campanian red figure krater depicting a warrior with helmet, shield, cuirass and spear looking a female figure with a thyrsus and a bucket (situla). From Cumae. Attributed to LNO Painter. 330-320 BC. Stevens Collection. National Archaeological Museum. Naples. Italy.

Actaeon fighting with the hind watched by Artemis seated and Hermes and Pan. On the neck: lion and boar combating. Krater made in Puglia. From Ruvo di Puglia. Iliupersis Painter or Group of the Lycurgus Painter. Second half of 4th century BC. Pottery. National Archaeological Museum. Naples. Italy.

Art Greek. Magna Graecia. Greek vase painting. Red figure pottery. Lekythus. Used for storing oil. Decoration. Woman with cake votive and tambourine addressing a altar. Comes from Taranto. Italy. Museum of Perfume. Barcelona. Spain.

Lazio Viterbo Viterbo Museo Civico62. 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-

Terracotta neck-amphora (jar) ca. 510 B.C. Greek, Attic Obverse, two mounted huntersReverse, Dionysos between satyr and maenadThe obverse shows a rare representation of a rider dismounting from his horse.. Terracotta neck-amphora (jar). Greek, Attic. ca. 510 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta neck-amphora (jar) ca. 510 B.C. Greek, Attic 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.. Terracotta neck-amphora (jar) 254881 Greek, Attic, Terracotta neck-amphora (jar), ca. 510 B.C., Terracotta, 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.). The Metropolitan Museum of Art, New York. Fletcher Fund, 1956 (56.171.23)

Volute Krater (Mixing Bowl). Greek; Apulia, Italy; Attributed to the Painter of Copenhagen 4223. Date: 340 BC. Dimensions: 78 × 48 38.1 cm (30 3/4 × 18 7/8 × 15 in.). Terra-cotta, decorated in the red-figure technique. Origin: Apulia. Museum: The Chicago Art Institute, USA.

Terracotta neck-amphora (jar) ca. 570-560 B.C. Attributed to the Ptoon Painter Obverse, banqueting scene, possibly Dionysos and AriadneReverse, Herakles and AcheloösBy the second quarter of the sixth century B.C., figural subjects and particularly mythological motifs predominated over animal friezes on Attic vases. The man-headed bull on the reverse identifies the scene as Herakles subduing the river-god Acheloös. The banquet on the obverse may depict the god of wine, Dionysos, with Ariadne, a daughter of King Minos of Crete. Dionysos married her after she was abandoned by the Athenian hero Theseus.. Terracotta neck-amphora (jar). Greek, Attic. ca. 570-560 B.C.. Terracotta; black-figure. Archaic. Vases

Etruscan civilization, black-figure pottery, Hydria depicting 'The Abduction of Europe'

Bell krater with Gigantomachy, by Painter of Polignoto's School, 5th Century, pottery, turn on lathe, red figures . Italy, Emilia Romagna, Ferrara, National Archaeological Museum. Whole artwork. Bell-shaped crater wide-open vase to mix wine with water separate disk-shaped base side handles flared mouth between two floral decorative fascia historiated frieze with gigantomachy.

water jar- hydria. Greek Red Figure style vase. Athens. By Phintias, Vulci, 510 BC.

Fragmentary Attic Red-Figure Oinochoe. Probably by the Painter of the 14th Brygos (Greek (Attic), active 490 - 470 B.C.)

Terracotta lekythos (oil flask) ca. 490 B.C. Attributed to the Class of Athens 581.1 The centaur Pholos, Herakles, Athena, and HermesOn this vase, the centaur Pholos prepares for a feast, an event whose smell attracts other centaurs and leads to a fierce conflict in which Herakles eventually drives off his assailants. This depiction of Pholos is unusual in that he does not have the expected human abdomen, but instead, his human legs are attached directly to his equine body, giving him the chest of a horse.. Terracotta lekythos (oil flask). Greek, Attic. ca. 490 B.C.. Terracotta; black-figure on white ground. Archaic. Vases

Amfora nolańska czerwonofigurowa z przedstawieniem Nike z kitharą oraz młodzieńca. Malarz Oionoklesa, author

Stamnos by the Painter of Hesione. Red-figure pottery from Asciano (Tuscany). Etruscan Civilization, 4th Century BC.

Amphora; terra-cotta

Terracotta Panathenaic prize amphora (jar) ca. 510 B.C. Attributed to the Leagros Group Obverse, AthenaReverse, horse raceThis representation of a horse race includes the post marking the turn in the course.. Terracotta Panathenaic prize amphora (jar). Greek, Attic. ca. 510 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta oinochoe: chous (jug). Culture: Greek, Attic. Dimensions: Diam.: 7 3/8 x 10 in. (18.7 cm) ( foot, D. 4 5/16"). Date: ca. 450 B.C..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. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta alabastron (perfume vase) ca. 460 B.C. Attributed to the Beth Pelet Painter Obverse, upper zone, women at home; lower zone, youth pursuing womanReverse, upper and lower zones, women at homeIn Attic pottery of the fifth century B.C., the phenomenon of superposed or concentric rows of decoration occasionally appears. It is best represented on kraters, among the large shapes; on cups and bobbins, among vases with a circular format; and on alabastra. The iconography of this alabastron resembles that of many pyxides (boxes with lids)the confinement of the home and the seductions of the world beyond.. Terracotta alabastron (perfume vase) 254239 : Attributed to the Beth Pelet Painter, Terracotta alabastron (perfume vase), ca. 460 B.C., Terracotta, H. 8 3/4 in. (22.3 cm); diameter 2 5/16 in. (5.9 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1941 (41.162.67)

Greek red figure amphora. Woman playing "flute".

Dinos depicting the myth of the wedding of Thetis and Peleus. Rape of Thetis. It represents the abduction of Thetis by Peleus and the subsequent wedding between the two. In the central part, in the presence of god Eros, Peleus grabs the goddess by the waist, who gesticulates asking her sisters for help. Above the figures depicted, a dove flies carrying the marriage ribbons in its beak. The vessel was intended to be part of a grave goods. Clay and paint. Painter of Louvre MNB 1148. 340 BC. Height: 53 cm, mouth diameter: 25 cm, pedestal height: 26.5 cm. From Apulia, Italy. National Archaeological Museum. Madrid. Spain.

Terracotta mastoid (drinking cup in the form of a breast) late 6th century B.C. Greek, Attic Obverse, between eyes, satyrReverse, between eyes, maenad. Terracotta mastoid (drinking cup in the form of a breast). Greek, Attic. late 6th century B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta pelike (jar). Culture: Greek, Attic. Dimensions: H. 11 1/4 in. (28.5 cm). Date: ca. 480 B.C..Obverse, Dionysos Reverse, satyrThe figures have been accommodated admirably to the size and shape of the pelike. Dionysos is dressed up, including soft shoes. The bending branch and the end of his staff beneath the kantharos evoke flowing wine. His satyr attendant is characterized by his nudity and by the wineskin that levitates behind him. He extends his oinochoe (jug) to his master's kantharos (drinking cup). Museum: Metropolitan Museum of Art, New York, USA.

Terracotta column-krater (mixing bowl) 4th century B.C. Attributed to the Rueff Painter Obverse, women and two youths in Oscan dress. Reverse, three youths.. Terracotta column-krater (mixing bowl). Greek, South Italian, Apulian. 4th century B.C.. Terracotta; red-figure. Late Classical. Vases

Thésée painter. Oenochoé with white background. Black figures. Athens (Greece), 490-485 BC. AD Museum of Fine Arts of the City of Paris, Petit Palais. 58658-13 Farmer, handle, antiquity, agriculture, beef, black figure, white background, decorative motif, oenochoe, ancient vase, veme ve v 5th 5th 5th century AV.JC, animal

Terracotta squat lekythos (oil flask) ca. 420 B.C. Attributed to the Washing Painter Woman and Eros.The representation may not be as simple as it appears. The seated lady faces Eros, who replaces a servant in holding a casket. The casket would normally be thought to contain jewelry and small personal items, but in the hands of Eros the contents may be less banal. Noteworthy also is the juxtaposition of the bird and Eros. While the bird may be merely a pet, it is given prominence and therefore invites comparison with the winged youth.. Terracotta squat lekythos (oil flask). Greek, Attic. ca. 420 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta lekythos (oil flask) late 6th century B.C. Attributed to a painter associated with the Michigan Class Five athletes practicingThe youths and the man are depicted with diskoi, jumping weights, and javelins.. Terracotta lekythos (oil flask). Greek, Attic. late 6th century B.C.. Terracotta; black-figure. Archaic. Vases

Kantharos

An amphora (English plural: amphorae or amphoras) is a type of container of a characteristic shape and size, descending from at least as early as the Neolithic Period. Amphorae were used in vast numbers for the transport and storage of various products, both liquid and dry, but mostly for wine. It is most often ceramic, but examples in metals and other materials have been found. Stoppers of perishable materials, which have rarely survived, were used to seal the contents. Two principal types of amphorae existed: the neck amphora, in which the neck and body meet at a sharp angle; and the one-piece amphora, in which the neck and body form a continuous curve. Neck amphorae were commonly used in the early history of ancient Greece, but were gradually replaced by the one-piece type from around the 7th century BCE.

Terracotta bell-krater (bowl for mixing wine and water) ca. 460-450 B.C. Attributed to the Achilles Painter Obverse, warrior and manReverse, Nike (the personification of victory) and youthIndividual characterization is rare in Attic vase-painting, but there are notable exceptions. The head of the wizened warrior on the obverse, with his unkempt hair, long bony nose, and furrowed brow, bespeaks a specific non-Athenian person. Identifying him is complicated by an inscription incised before the background glaze was applied and, therefore, difficult to read. The preferred interpretation is that this is Tereus, the king of Thrace, who seriously mistreated Philomela and Prokne, the daughters of King Pandion of Athens. Here Tereus may be asking Pandion for permission to marry Prokne. Listen to experts illuminate this artwork's story Listen Play or pause #1051. Terracotta bell-krater (bowl for mixing wine and water), Part 1 Play or pause #1070. Terracotta bell-krater (bowl for mixing wine and

5th century BC, Red and black, Greek vase depicting a charioteer. Athens, Greece.

Hydria (NOKOS scene). The monumental Hydria has been scalded from several parts; Your items are attached to each other. The rich painted vessel shows on the front a naiskos with three people and outside on both sides each three other figures. Neiskos stands on a broad meanderbase; Its ceiling beams are shown in perspective; On the flat gable are three palm tapes. In the tomb sits a woman on a rich ornate chair with red blanket, the feet put on a stool. With her right she keeps the man's head laid on the head and in the left a box. It is highlighted by a white painting as a deceased. Left and right are two women who are clothed as the seating with short-sleeved chitons in different colors. One holding a tänie, the other a fan in his hand. Distributed on the free surfaces are a compartment, a täny, a ball, a bandage and a lecythos. Links from the Nakiskos are two figures, a naked young man and a woman, there is another woman in stored attitude. Right is a similar group; The lying bears u

Etruscan bowl depicting Calydonian Boar hunt, from Cerveteri, Rome Province, 6th Century B.C.

Lekythos ca. 500-490 B.C. Attributed to the Painter of Athens 9690. Lekythos. Greek, Attic. ca. 500-490 B.C.. Terracotta; black-figure, white-ground. Archaic. Vases

Barclay painter. Hydria. Red figures. Athens, 440 BC. AD Museum of Fine Arts of the City of Paris, Petit Palais. 58660-16 Anse, Greek antiquity, ancient art, Greek art, attic, ceramic, chair, dutuit collection, woman, red figure, hydrie, ancient furniture, painting, ancient scene, tunic, ancient vase, veme ve v 5th 5th 5 century AV.JC

Terracotta column-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: H. 16 1/4 in. ( 41.3 cm); width 15 15/16 in. (40.5 cm). Date: ca. 475-465 B.C..Obverse, man offering lyre and ball to boyReverse, youthPart of a youth's education often came from an older mentor such as this man who offers to a young boy a lyre and a ball. Musical training was an essential part of Athenian education. Students learned to play the lyre, to recite poetry, and to dance. Museum: Metropolitan Museum of Art, New York, USA.

Fragment of a terracotta volute-krater ca. 330-310 B.C. Attributed to the Baltimore Painter Hippolyte, queen of the Amazons, with Herakles between Amazons. Fragment of a terracotta volute-krater. Greek, South Italian, Apulian. ca. 330-310 B.C.. Terracotta; red-figure. Late Classical. Vases

Prize Vessel from the Athenian Games; Attributed to the Marsyas Painter (Greek (Attic), active 330 - 320 B.C.); Athens, Greece; 340-339 B.C; Terracotta; 78.5 × 39.2 cm (30 7,8 × 15 7,16 in.)

Rhyton in the shape of a doe head. Red figures. Taranto (Italy), 330-300 BC. AD Museum of Fine Arts of the City of Paris, Petit Palais. 58728-17 Greek art, drink, ceramic, ancient civilization, crown, red figure, large Greece, 4th 4th 4th 4th 4th century AV.J-.C., Libations, nudite, offering, ancient period, character wing, pottery, rhyton, ritual , Vase to drink, Greek vase, victory, naked

Terracotta neck-amphora (jar). Culture: Greek, Attic. Dimensions: H. 10 1/2 in. (26.7 cm); width of mouth 4 1/2 in. (11.4 cm). Date: ca. 500 B.C..Obverse and reverse, athletesThe obverse shows a flute-player, a youth with jumping weights, and another holding staves. On the reverse, there are a trainer, a diskos thrower, and another youth with staves. Museum: Metropolitan Museum of Art, New York, USA.

Gnathia Pelike. Unknown

Apulian red-figured phiale, by Workshop Painters of Patera and Baltimora, IV Century, 340-320, cm 15 diamentro orlo 46 cm, piede 16.2 cm

Terracotta situla (bucket). Culture: Greek, South Italian, Apulian. Dimensions: H. 10 11/16 in. (27.1 cm). Date: ca. 360-340 B.C..Dionysos among satyrs and maenads. On the bottom, round faceA situla is a bucket that served to decant wine. The shape is well attested in metal examples and in terracotta counterparts of different types. This piece presents a spirited depiction of the wine-god Dionysos driving his griffin-drawn chariot to a gathering of his followers. Particularly engaging is the old satyr dipping a jug into the decorated calyx-krater, probably to fill the libation bowl in his left hand. On the back, Dionysos is seated between a satyr and a maenad and is surrounded by attributes, including a fawn, a cista (cylindrical box), and wreaths. Museum: Metropolitan Museum of Art, New York, USA.

Calyx-krater (large vase) by the Berkeley Painter depicting a winged spirit. Red-figure pottery. Etruscan Civilisation, 4th Century BC.

Greece, Athens, Red-figure bell krater (vase used to mix wine and water)

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

Terracotta lekythos (oil flask) 1st quarter of 5th century B.C. Attributed to the Athena Painter Gigantomachy (battle of the gods and giants), with Hermes and AthenaIn Athens, vases of this type were closely connected with funerary rites because of the importance of oil in preparing the body for burial and as an offering at the grave. This battle scene between the Olympian gods and the earth-born giants is painted in a modification of the black-figure style that uses a thin coat of white clay as background.. Terracotta lekythos (oil flask) 247948

Fragmentary Attic Red-Figure Pelike. Villa Giulia Painter (Greek (Attic), active about 470 - 440 B.C.)

Terracotta amphora (jar) ca. 530-520 B.C. Attributed to the Bateman Group Obverse, Athena and Herakles in a chariotReverse, Dionysos and Ariadne with satyrs and HermesThere appears to be a chiastic relationship between the subjects on this vase. The goddess Athena is escorting Herakles to Mount Olympos on one side. On the other, Ariadne, who was rescued by Dionysos after having been abandoned on the island of Naxos by Theseus, is being led off by her new suitor, his entourage, and Hermes.. Terracotta amphora (jar) 248662

Terracotta Nolan neck-amphora (jar). Culture: Greek, Attic. Dimensions: H. 13 1/16 in. (33.1 cm); diameter of body 6 13/16 in. (17.3 cm); diameter of foot 3 7/16 in. (8.7 cm); diameter of mouth 5 13/16 in. (14.8 cm). Date: ca. 480-470 B.C..Obverse, Apollo with bow and deerReverse, womanThe subject is that of Apollo pursuing a woman. His attributes in this context are interesting, not least because they are also associated with his sister Artemis. The deer may emphasize his fleetness. The bow becomes more like that of Eros. Museum: Metropolitan Museum of Art, New York, USA.

The Portland Vase. Cameo glass, probably made in Rome About 15BC - AD 25. The Portland Vase is one of the finest surviving pieces Roman glass, and is named after the Duke of Portland who owned it from 1785 to 1945. It made of cameo glass a technique in which vessels and plaques, sometimes free-blown, sometimes cast, are created with two layers of glass. The outer layer (usually white) is carved away from the underlying dark layer (usually blue) to create decorative scenes and patterns.

Volute Krater (Mixing Bowl) 330 BCE-320 BCE Apulia. On the front of this vessel, a warrior and his horse stand in a naiskos (tomb) surrounded by attendants with offerings; above them is the god Eros and on the handles male and female followers of the god Dionysos are depicted.On the back another naiskos (tomb) is decorated with large white figures. Since the krater is a funerary vessel, these figures may be symbolic representations of the dead or they may depict marble statues of the tombís occupants.. terracotta, decorated in the red-figure technique . Ancient Greek

Terracotta neck-amphora (jar) with Herakles and a bull ca. 520-510 B.C. Greek, Attic Both sides illustrate the same scene. Herakles, having forced the Cretan bull down on one knee, tightens a rope that binds the animal around its horns, left hind leg, and testicles.. Terracotta neck-amphora (jar) with Herakles and a bull. Greek, Attic. ca. 520-510 B.C.. Terracotta; black-figure. Archaic. Vases

Italy, Lazio, Tarquinia, Red-figure oenochoe (or oinochoe, wine jug) representing two feminine faces, 350/325 B.C. by the Ceratana School

Terracotta alabastron (perfume vase) ca. 510-500 B.C. Attributed to the Painter of New York 21.131 Amazon and youth leaning on a staffAlabastra decorated with an Amazon enjoyed a brief period of popularity at the end of the sixth century B.C. On this vase, there is no evident connection between the two figures. The presence of the youth may indicate that Amazon alabastra were favored by youths rather than women.. Terracotta alabastron (perfume vase) 251159 : Attributed to the Painter of New York 21.131, Terracotta alabastron (perfume vase), ca. 510500 B.C., Terracotta, H. 6 1/8 in. (15.6 cm). The Metropolitan Museum of Art, New York. Gift of Gisela M. A. Richter, 1921 (21.131)

"Campana" Group Dinos. Attributed to the Ribbon Painter (Etruscan, active 530 - 520 B.C.)

Minoan art. Greece. Vessel. Palace Style. Schematic vegetal decoration. 1420 BC. Heraklion Museum. Creta. (Photo by: PHAS/UIG)

Terracotta loutrophoros (ceremonial vase for water). Culture: Greek, South Italian, Apulian. Dimensions: 32 3/4 in. (83.2 cm). Date: 3rd quarter of the 4th century B.C..On the body, obverse, woman with attendant in naiskos (shrine) flanked by youths and womenReverse, woman in naiskos flanked by youths and womenOn the shoulder, obverse, head of a woman wearing a Phrygian cap within foliageReverse, head of a woman within foliageThis loutrophoros is a slightly simpler counterpart of the adjacent example. The naiskos has only two columns, and the lower part of the podium is covered with vinetendrils. The woman opens a casket, while her maid holds a garland of flowers. Although the function of such vases is not fully understood, it was most probablyfunerary. From its origins in Athens, the loutrophoros was associated with weddings and with rites for those who died unmarried. The iconographical formula of figuresin a naiskos was established in sculpture on the Greek mainland, whence

Fragment of a Column Krater (Mixing Bowl) 580 BCE-570 BCE Corinth. This fragment comes from a large bowl that was used to mix wine and water before it was served. Unusually, it is decorated in two techniques. The bearded man holding a spear and the animals to the right and below the scene are decorated in the black-figure technique, but the other figures are simply outlined. The use of yellow for the manís garment is also unusual.CorinthThe seventh century marks the beginning of the Archaic period (700ñ480 B.C.). In Corinth, geometric patterns that had embellished the pottery of the preceding era gave way to depictions of animals, both real and imaginary, and sometimes humans and gods. Painters also explored new ways of decorating their pots, including the outline technique. Ultimately, they settled on painting their subjects in silhouette with black gloss and created details by incising through the black to reveal the lighter clay below and sometimes adding reddish-purple or creamy wh

Terracotta kylix (drinking cup) ca. 490 B.C. Attributed to Makron Interior, youth and girl dancing with krotala (castanets)Makron excelled in depictions of conviviality of every kind, whether in the human or mythological realm. He also conveyed the rapport between figures with greater sensitivity than either the Brygos Painter or Douris. Here a young man watches a girl dancing. Although the composition may appear simple, even awkward, the juxtaposition is exceedingly expressive.. Terracotta kylix (drinking cup). Greek, Attic. ca. 490 B.C.. Terracotta; red-figure. Archaic. Vases

Naczynie, pithos. nieznany warsztat egipski, author

Drinking cup with red figure technique. Dated 425 BC.

Greek art. Amphora. Black-figure pottery. Erotic decoration. Dated between V-IV centuries B.C. Pompeii. Italy.

Campania Caserta Capua Museo Campano014. 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

Attic Red-Figure Calyx Krater; Near Nekyia Painter; Greece (Attica); about 440 B.C; Terracotta; 30.2 × 31.2 cm (11 7,8 × 12 5,16 in.)

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