Greek Mythology on Vases

An assortment of ancient Greek vases showcasing mythological stories involving figures like Herakles, characterized by intricate shapes and dramatic scenes.

Storage Jar with Dionysos; Athens, Greece; about 510 B.C; Terracotta; 40.4 × 26.2 cm (15 7,8 × 10 5,16 in.)

Terracotta hydria: kalpis (water jar). Culture: Greek, Attic. Dimensions: H. 14 1/2 in. (36.8 cm)diameter without handles 11 5/16 in. (28.7 cm). Date: ca. 460-450 B.C..The infant Herakles strangling snakes sent by the goddess HeraHerakles, the greatest of the Greek heroes, was one of twins conceived in a night when Alkmene, the wife of Amphitryon, was visited by both her husband and the god Zeus. Angered by his infidelity, Zeus's wife, Hera, tried to kill the infant Herakles with snakes. Here the child strangles them in the presence of his parents and Athena, his protective goddess. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta neck-amphora (jar). Culture: Greek, Attic. Dimensions: H: 13" Greatest diameter: 8 3/4". Date: ca. 540-530 B.C..Obverse, Herakles; reverse, Geryon. On the neck, obverse and reverse, a flute-player leading a procession of youths and menOne of the labors of Herakles was to obtain the cattle of Geryon, a creature composed of three fully-armed bodies. Geryon lived on an island in the far west with his herdsman, Eurytion, and dog, Orthros. Here, Herakles takes aim with his arrow against Geryon, one of whose bodies is falling. The subject was popular in the sixth century B.C.; several representations in stone can be seen in the Cypriot galleries on the second floor. The vase is exceptional for its broad and sharply tapering shape that lacks a foot. It is also one of the earliest instances where the protagonists of a story are placed on opposite sides of the body. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta neck-amphora (jar) ca. 510-500 B.C. Attributed to the Leagros Group Obverse, youth with sword pursuing womanReverse, Dionysos and satyrsThe male figure on the obverse has been interpreted as Perseus, the women as possibly daughters of the sea god Nereus. The representation on the reverse is most interesting for the goat that has a satyr-like face. Such creatures indicate that Dionysos was not only the god of wine but that he also had powers over various kinds of human and animal life.. Terracotta neck-amphora (jar). Greek, Attic. ca. 510-500 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta neck-amphora (jar). Culture: Greek, South Italian, Campanian. Dimensions: H.: 11 11/16 in. (29.7 cm). Date: 5th century B.C..Obverse, figure seated at altarReverse, recumbent satyrThere are numerous noteworthy iconographical features on this vase. The figure seated next to a flaming altar is most unusual, at least from the perspective of Greek iconography. It raises the question whether the figure and the altar have been conflated from two separate, though related, scenes. On the reverse, the satyr's hooves are articulated with particular delicacy, almost as though they were fancy shoes. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta neck-amphora (jar) ca. 520 B.C. Attributed to the Antimenes Painter Obverse, Herakles, Athena, and Hermes.Reverse, frontal chariot and archer.. Terracotta neck-amphora (jar) 254877 : Attributed to the Antimenes Painter, Terracotta neck-amphora (jar), ca. 520 B.C., Terracotta, H. 40.49 cm.. The Metropolitan Museum of Art, New York. Fletcher Fund, 1956 (56.171.19)

Terracotta lekythos (oil flask). Culture: Greek, Attic. Dimensions: H. 16 13/16 in. (42.7 cm); diameter 2 13/16 in. (7.2 cm). Date: ca. 500 B.C..Thetis in chariot with winged horses flying over the sea accompanied by the messenger gods, Iris and Hermes.This scene may reflect a passage in the last book of the Iliad (book 24, lines 95-96). Summoned to Mount Olympos, the sea nymph Thetis is ordered by Zeus to convince her son, Achilles, to return the body of his enemy Hector to Priam, the king of Troy, for proper burial. Museum: Metropolitan Museum of Art, New York, USA.

Red figure stamnos (pottery used to store liquids) depicting a satyr with a girl painted by Ceretano Painter, circa 325/300 B.C.

Storage Jar with Dionysos; Athens, Greece; about 510 B.C; Terracotta; 40.4 × 26.2 cm (15 7,8 × 10 5,16 in.)

Terracotta nestoris (two-handled jar) ca. 360-350 B.C. Attributed to the Painter of New York 52.11.2 On the body, obverse, youth extending a bird toward a womanReverse, two youthsOn the neck, obverse and reverse, head and wings of NikeWhile most shapes in South Italian vase-painting depend on Attic models, the nestoris is indigenous. It developed from the Messapian trozella (see 16.59 nearby) and was adopted in Lucania earlier than in other regions such as Apulia.. Terracotta nestoris (two-handled jar) 254694 : Attributed to the Painter of New York 52.11.2, Terracotta nestoris (two-handled jar), ca. 360350 B.C., Terracotta, H. with handles 15 in. (38.1 cm) H. without handles 13 9/16 in. (34.5 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1952 (52.11.2)

Attic Red-Figure Lekythos. Carlsruhe Painter (Greek, active 475 - 450 B.C.)

Terracotta amphora (jar) ca. 530-520 B.C. Greek, Attic Obverse, quadriga (four-horse chariot) and six menReverse, duel of warriors between two womenThe antagonists on the reverse may be Achilles and Memnon.. Terracotta amphora (jar) 251100 Greek, Attic, Terracotta amphora (jar), ca. 530520 B.C., Terracotta, 15 5/16in. (38.9cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1921 (21.88.76)

Amfora czarnofigurowa z przedstawieniem walczących hoplitów. Malarz Micali, author

Terracotta hydria (water jar) ca. 430-420 B.C. Greek, Attic Eros and womanThe scene shows a woman seated with a casket and pet bird, thus probably in the domestic quarters of her house. Eros hovers before her holding out a garment, probably for her impending marriage.. Terracotta hydria (water jar) 253078 Greek, Attic, Terracotta hydria (water jar), ca. 430420 B.C., Terracotta, H. 9 5/16 in. (23.6 cm). The Metropolitan Museum of Art, New York. Bequest of Theodore M. Davis, 1915 (30.115.28)

Black -of -propeller amphora with a presentation of fighting hoplites; MICALI painter; early 5th century BC (-410-00-00--401-00-00);

Black-Figure Neck-Amphora (Storage Vessel): Departing Warriors (A); Dionysos and Satyrs (B), c. 520-510 BC. Greece, Attic. Ceramic; overall: 17.3 cm (6 13/16 in.).

Attic Panathenaic Amphora; Kleophrades Painter, Greek (Attic), active 505 - 475 B.C.; Athens, Greece, Europe; 490 - 480 B.C.; Terracotta; Object (body): H: 65 x Diam.: 40.3 cm (25 9/16 x 15 7/8 in.), Object (rim): Diam.: 17.9 cm (7 1/16 in.), Object (neck): Diam.: 11.3 cm (4 7/16 in.), Object (foot): 13 cm (5 1/8 in.)

Red -purital kalpis; Painter of a lease with Yale (approx. 470-450 BC); 470-460 BC (-470-00-00--460-00-00);

Calyx Krater (Mixing Bowl) 400 BCE-380 BCE Basilicata. This vase was painted by a Greek artist who immigrated to Etruria, where Greek vases were a popular commodity. The seventh of Heraklesís Twelve Labors is shown here. Charged with capturing a monstrous bull that was terrorizing the people of Crete, the hero wields his club against the ungainly creature, watched over by King Minos on the left, the gods Apollo and Athena above, and Hermes on the right.. terracotta, decorated in the red-figure technique . Perugia Painter

Terracotta neck-amphora (jar) ca. 500 B.C. Attributed to the Diosphos Painter Obverse, Hera sending out Iris with the Nemean lionReverse, Herakles wrestling the Nemean lionThe very rare representation on the obverse depicts a story preserved in Hesiod's Theogony. Hera, queen of the gods, sends out Iris, the divine messenger, with the lion that will ravage the region of Nemea. On the other side, Herakles wrestles with the lion as Athena stands by to assure a successful outcome.. Terracotta neck-amphora (jar) 256598

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 Panathenaic prize amphora ca. 510 B.C. Attributed to the Leagros Group Obverse, AthenaReverse, chariotThis amphora is different from the typical prize vase. It does not have the inscription identifying it as being from the games in Athens. Furthermore, the chariot on the reverse is at rest, not in competition.. Terracotta Panathenaic prize amphora. Greek, Attic. ca. 510 B.C.. Terracotta; black-figure. Archaic. Vases

Calyx-krater (large vase) by the Diespater Painter. Red-figure pottery. Etruscan Civilisation, 4th Century BC.

Terracotta Nolan neck-amphora (jar) ca. 440-430 B.C. Attributed to the Dwarf Painter Obverse, Greek fighting an AmazonReverse, man with staffThe combination of subjects on the obverse and reverse is thought-provoking because one is mythological and the other reflects fifth-century B.C. Athens. In its mythological prehistory, Athens was attacked by the Amazons, a tribe of warrior-women whose homeland lay beyond the Black Sea. Theseus, the legendary king of Attica, fought against the invaders and married Antiope, the Amazon queen. The iconography here brings an event of the distant past into the reality of the present.. Terracotta Nolan neck-amphora (jar). Greek, Attic. ca. 440-430 B.C.. Terracotta; red-figure. Classical. Vases

Theatre Chorus of young warriors chant to a dead hero. Krater. Greek vase painting.

Terracotta amphora (jar) ca. 530 B.C. Attributed to a painter of Bateman Group Obverse, Herakles and Amazons in combatReverse, Dionysos, Hermes, and satyrsAmazons were mythical women warriors thought to live in a remote region of Asia Minor. One of the twelve labors that Herakles had to perform for his master, King Eurystheus, was to capture the girdle of the Amazon queen Hippolyte. In the fierce battle depicted here, the Amazons are dressed like Greek hoplites (foot soldiers) with helmet, cuirass, and round shield.. Terracotta amphora (jar). Greek, Attic. ca. 530 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta bell-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: Other: 13 1/4 × 16 in. (33.7 × 40.6 cm)Diameter: 15 × 6 1/4 in. (38.1 × 15.9 cm). Date: mid-fifth century B.C..With only three figures and carefully selected and rendered details - the musical instruments, the drinking cup, the boots on the floor, the representation captures and characterizes a Classical symposium. The scene is noteworthy for its gravity. Museum: Metropolitan Museum of Art, New York, USA.

Black-figure pottery, Attic amphora with Heracles and lion

Italy, Sicily, Black-figure lekythos (vase used to store oil) depicting Achilles and Chiron the Centaur by the Athena Painter School

Red-figureLekythos

Red -andener lease; Ikarus painter (Kr G); around 460 BC (-465-00-00--450-00-00);

Attic Red-Figure Pelike. Achilles Painter (Greek (Attic))

Terracotta neck-amphora (jar). Culture: Etruscan. Dimensions: H. 13 7/8 in. (35.3 cm). Date: ca. 575-550 B.C..Upper frieze, procession of centaursLower frieze, procession of lionsThe unified series of friezes on this vase has no specific narrative content. Instead, the artist seems to have delighted in combining patterns and colors to create a highly ornate object. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta column-krater (bowl for mixing wine and water) ca. 460 B.C. Attributed to the Orchard Painter Obverse, Hermes and Poseidon pursuing womenReverse, youth between two women, one carrying a torchThe amorous escapades of the Greek gods are familiar subjects on vases. The depiction on the reverse is more sober; the torch indicates the time of day. Both scenes are directly pertinent to the symposium, where the vase would have been used.. Terracotta column-krater (bowl for mixing wine and water) 247313

Black-Figure Amphora (Type B; Storage Vessel): Battling Warriors (A); Dionysos and Satyrs (B), c. 530-520 BC. Attributed to The Bateman Group, manner of Lysippides Painter (Greek, Attic, active c. 530-515 BC). Ceramic; overall: 49.5 cm (19 1/2 in.).

Warriors fighting- Andocides duel amphora. 6th cent. BC. Athens. Red Figure style. Greek vase painting.

Terracotta skyphos (deep drinking cup) ca. 330-300 B.C. Attributed to the APZ Painter Obverse, seated youth betwen two women Reverse, three youthsThe APZ Painter's style reflects the influence of Apulian workshops during the last phases of Campanian vase-painting in Cumae. The innovations include new filling ornaments such as rosettes, details in the treatment of drapery, and greater polychromy.. Terracotta skyphos (deep drinking cup) 247401

Terracotta skyphos (deep drinking cup) ca. 500 B.C. Attributed to the Theseus Painter The god of the sea, Poseidon, riding sea horseUnder each handle, heronMany wine vessels were decorated with images related to the sea. Here Poseidon or the kindly old sea god Nereus rides an undulating sea horse.. Terracotta skyphos (deep drinking cup). Greek, Attic. ca. 500 B.C.. Terracotta; black-figure. Archaic. Vases

Volute krater (large vase) by the Alcestis Painter depicting satyrs and bacchants performing a dance. Red-figure pottery. Etruscan Civilisation, 4th Century BC.

Terracotta neck-amphora (jar) ca. 510-500 B.C. Attributed to the Acheloös Painter Obverse, women and man at fountain houseReverse, woman and komasts (revelers)However incomplete, this vase gives a very amusing picture of life in Athens, morning and evening. The figures on the obverse are at a fountain house, indicated by the architecture, the two panther's head waterspouts, and the block below on which to place hydriai (water jars) while they are being filled. Fountain houses were places where men and women could meet casually. On the reverse, three men wreathed with ivy disport themselves around a woman. The krotala (castanets) in her hand suggest that she is a hetaira, a professional entertainer.. Terracotta neck-amphora (jar). Greek, Attic. ca. 510-500 B.C.. Terracotta; black-figure. Archaic. Vases

Red -ande -figure amphora; Providence painter (approx. 470-460 BC); 5th century BC (-500-00-00--401-00-00);

Attic Black-Figure Neck Amphora. Attributed to Group E (Workshop of Exekias) (Greek (Attic), active 560 - 540 B.C.)

Terracotta column-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: H. 15 in. (38.1 cm)diameter with handles 14 1/16 in. (35.8 cm). Date: ca. 430 B.C..Obverse, horsemenReverse, komasts (revelers)The longevity of the black-figure technique is indicated here by the ornament of the neck and especially by the animal frieze around the side of the lip. The horsemen ride along with an air of particular ease, conveyed not only by their seat but also by the exchange between them. They can be compared to the riders on the west frieze of the Parthenon. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta lekythos (oil flask) ca. 500 B.C. Attributed to the Sappho Painter Athena fighting giant. Terracotta lekythos (oil flask) 254202 : Attributed to the Sappho Painter, Terracotta lekythos (oil flask), ca. 500 B.C., Terracotta, H. 6 13/16 in. (17.3 cm); diameter 2 13/16 in. (7.2 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1941 (41.162.35)

Black -of -inch track from the scenes Fighting for the Delphic Tri -Leaf; Haimon painter (490-460 BC); around 480 BC (-485-00-00--475-00-00);

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

ANFORA: CON MAESTRO DE MUSICA CON LIRA EN LA MANO Y PEDAGOGO. GRIEGO CERAMICA. (DEPOSITO: MUSEO ARQUEOLOGICO NACIONAL).

Terracotta neck-amphora (jar) with twisted handles ca. 400 B.C. Attributed to the Suessula Painter Obverse, combat of Greeks against AmazonsReverse, satyr and maenad, followers of Dionysos, the god of wine. Terracotta neck-amphora (jar) with twisted handles 254519 : Attributed to the Suessula Painter, Terracotta neck-amphora (jar) with twisted handles, ca. 400 B.C., Terracotta, H. 14 in. (35.5 cm). The Metropolitan Museum of Art, New York. Fletcher Fund, 1944 (44.11.13)

Terracotta pelike (jar). Culture: Greek, Attic. Dimensions: H. 21.01 cm.. Date: ca. 450 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Attic Black-figure "Tyrrhenian" Amphora with a Wedding Procession and a Combat Scene. Pointed Nose Painter, painter (Greek (Attic)) 550-545 B.C. The Tyrrhenian-style neck amphora has a typically tall, ovoid body; a short neck with a raised fillet at the join of the shoulder; and an inverted echinus foot. The scene on side A depicts a wedding procession of the gods. At right, Hermes is at the head of the procession. He wears a short white tunic, red chlamys, winged boots, and holds a caduceus. He looks back at two goddesses, one of whom stands with hands raised in front of a black and a white horse pulling a biga (chariot). Behind the pair of horses, a second goddess holds up wreaths and torches. The goddesses greet the bridal couple, a bearded man and a woman holding her veil before her face, who stand in the biga. Behind them is Dionysos, who wears a crown of white ivy leaves and a long red mantle. Dionysos looks back at two goddesses at the rear of the procession, the first of whom

Terracotta stamnos (jar). Culture: Greek, Attic. Dimensions: H. 16 in. (40.7 cm); width with handles 14 5/8 in. (37.2 cm); H. without cover 14 3/16 in. (36.1 cm). Date: ca. 470-460 B.C..Obverse, warrior arming, possibly AchillesReverse, Menelaos reclaiming his wife, HelenThe subject matter of the obverse is indicated by the woman who is handing the warrior his armor. In Homer's Iliad, Thetis, the mother of Achilles, replaces the original armor that Achilles gave to his friend Patroklos. This side probably depicts the principal Greek hero of the Trojan War, while the other indicates the cause of the war, the desire of Menelaos, the king of Sparta, to reclaim his wife from Paris, the Trojan prince. The fluid execution of the figures is complemented by the superb handle ornaments. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta amphora (jar). Culture: Greek, Attic. Dimensions: H. 21 13/16 in. (55.4 cm)diameter 14 in. (35.6 cm). Date: ca. 530-520 B.C..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. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta volute-krater (bowl for mixing wine and water) with stand ca. 430 B.C. Greek, Attic On the neck, obverse and reverse, Dionysos, the god of wine, and his followers, satyrs and maenadsThe architectonic character of this volute-krater is as great as that of the adjacent one, but the detail is quite different. The figure work on the neck constitutes a crowning frieze. The ribbing on the body introduces a pronounced verticality, and the crisp forms of the stand establish a podium. The small, agile figures of Dionysos and his retinue animate this otherwise sober and imposing ensemble.. Terracotta volute-krater (bowl for mixing wine and water) with stand 251486 Greek, Attic, Terracotta volute-krater (bowl for mixing wine and water) with stand, ca. 430 B.C., Terracotta, Overall: 18 1/16 x 13 in. (45.8 x 33 cm) Other (H. of krater and stand): 26 1/4 in. (66.7 cm) Other (H. of stand): 5 1/4in. (13.3cm) Other (H. of krater without handles): 18 1/16in. (45.8cm) Other (Diameter of foot)

Pelike czerwonofigurowa z przedstawieniem amazonomachii. Krąg Malarza Louvre G433

Nolan Amphora showing Athena andHermes. Artist, attributed to: Berlin Painter, Greek, Attic, ca. 500-ca. 460 B.C.

Calyx-krater (large vase) by the Painter of Nazzano depicting bacchants and satyrs. Red-figure pottery. Etruscan Civilisation, 4th Century BC.

Terracotta bell-krater (mixing bowl) ca. 360-350 B.C. Attributed to Asteas Obverse, Dionysos and satyr. Reverse, two youthsAsteas was the leading painter of Paestan vases, with a considerable production and workshop. This early work depicts the wine-god Dionysos and a satyr who precedes him holding a kantharos (drinking cup) and a torch, now mostly lost. The satyr is human except for his ears, and the whole composition distantly echoes that of the famous statue group of the Tyrannicides.. Terracotta bell-krater (mixing bowl) 255124 : Attributed to Asteas, Terracotta bell-krater (mixing bowl), ca. 360350 B.C., Terracotta, H. 14 5/8 in. (37.1 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1962 (62.11.3)

Amphora depicting Ulysses, Athena and princess Nausicaa. 5th c. BC. Greek art. Ceramics. GERMANY. BAVARIA. Munich. Municipal Museum.

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

Terracotta calyx-krater (mixing bowl) ca. 430-400 B.C. Attributed to the Amykos Painter Obverse, four warriors fightingReverse, four youthsThis vase well illustrates the complex interrelation between Greek art and artists in Southern Italy and the indigenous populations. In its shape and ornament, the krater has not evolved far beyond its Athenian models. The combat, by contrast, shows warriors with their native helmets in poses that emphasize individual movement rather than compositional rigor.. Terracotta calyx-krater (mixing bowl) 251099 : Attributed to the Amykos Painter, Terracotta calyx-krater (mixing bowl), ca. 430400 B.C., Terracotta, H. 15 1/16 in. (38.3 cm); diameter of mouth 14 9/16 in. (37 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1921 (21.88.75)

Red -support cottles; Newark painter; 5th century BC (-500-00-00--401-00-00);

Attic Red-Figure Oinochoe. Eretria Painter (Greek (Attic), active 440 - 410 B.C.)

Terracotta amphora (jar) ca. 550 B.C. Attributed to the St. Audries Painter Obverse and reverse, chariot sceneCertain shapes, notably the kylix (drinking cup), tended to be decorated with scenes directly related to their function. Concurrently, certain subjects were favored by Attic artists at a given time. As the sixth century B.C. progressed, the chariot gradually took its iconographical place beside the horse and horseman. This representation, which has many counterparts, shows a youth at the horses' heads, attending to them in some way. The dignity in the depiction as well as the youth's solicitousness express the Athenians' esteem for man and horse.. Terracotta amphora (jar). Greek, Attic. ca. 550 B.C.. Terracotta; black-figure. Archaic. Vases

ANFORA DE PRONOMOS - CRATERA - SIGLO IV AC. Author: PRONOMOS. Location: NATIONAL MUSEUM OF ARCHAEOLOGY. NEAPEL. ITALIA.

Red-figure pottery, Pelike attributed to Siren Painter, detail of side with Heracles taking his son Hyllus from Deianira's arms, from Athens

Red-figure bell krater. At the centre, a young man looking himself in a mirror, flanked by two women wearing cloaks. From Cumae. Attributed to the APZ painter, ca.320 BC. Cumana Section. Archaeological Museum. Naples. Italy.

Terracotta lekythos (oil flask). Culture: Greek, Attic. Dimensions: H. 13 3/8 in. (34 cm); width 4 1/2 in. (11.4 cm); diameter of foot 3 1/4 in. (8.3 cm)diameter of mouth 3 1/16 in. (7.8 cm). Date: ca. 480-470 B.C..HermesHermes, the messenger god, moves swiftly across this vase on some errand for Zeus, the ruler of the gods. Dressed in traveling clothes with a chlamys (short cloak) and a petasos (broad-brimmed hat), he wears winged sandals and carries a herald's staff, a kerykeion, which terminates in entwined snakes. The same symbol was carried by Greek heralds as they traveled from city to city. Museum: Metropolitan Museum of Art, New York, USA.

Gnathia Pelike; Gnathia, South Italy; last third of 4th century B.C; Terracotta; 23.7 × 10.3 cm (9 5,16 × 4 1,16 in.)

GREEK ART. GREECE. Attic LEKYTHOS red-figure. First half of V century b.C. Corinth Museum. Province of Korinthia. Region of the Peloponnese. Greece.

Red-Figure Bell-Krater (Mixing Vessel): Bust of Dionysos and Comic Actors, c. 390-380 BC. Attributed to Choregos Painter (South Italian, Apulian, active c. 390-380 BC). Ceramic; overall: 38 cm (14 15/16 in.); diameter of rim: 40.3 cm (15 7/8 in.); diameter of foot: 18.4 cm (7 1/4 in.).

Attic Black-Figure Neck Amphora.

Apulian Red-Figure Bell Krater. Attributed to the Rainone Painter (Greek (Apulian), active about 375 - 350 B.C.)

Black-Figure Amphora; Painter of the Vatican Mourner (Greek (Attic), active 540 - 530 B.C.), and Exekias (Greek (Attic), active 540 - 520 B.C.); Athens, Greece; 540 - 530 B.C; Terracotta; 53.3 × 35.6 cm (21 × 14 in.)

Terracotta kylix (drinking cup). Culture: Greek, Attic. Dimensions: H. 4 3/8 in. (11.1 cm). Date: ca. 480-470 B.C..Interior, youth and manExterior, obverse and reverse, youths and menThe interior shows a man propositioning a youth. The composition is admirable for the easy juxtaposition of the figures, the characterization of the man by the purse and of the youth by the athletic equipment on the wall, and the emphasis placed on the hands in the center. The exterior shows young men with their older mentors or teachers. The fillets and wreaths indicate rewards for accomplishments. Museum: Metropolitan Museum of Art, New York, USA.

Attic Black-FigureLekythos. Artist: Class of Athens 581, Greek, Attic. ca. 500-475 B.C.

Terracotta Nolan neck-amphora (jar) ca. 440-430 B.C. Attributed to the Phiale Painter 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.. Terracotta Nolan neck-amphora (jar) 254314 : Attributed to the Phiale Painter, Terracotta Nolan neck-amphora (jar), ca. 440430 B.C., Terracotta, H. 13 1/4 in. (33.7 cm); diameter 6 7/8 in. (17.5 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1941 (41.162.142)

Ceramic vessel decorated with some figures of black athletes. Classical Greek art. Ceramics.

Terracotta skyphos (deep drinking cup). Culture: Greek, Attic. Dimensions: H. 7 in. (17.8 cm)diameter 9 in. (22.9 cm). Date: ca. 450 B.C..Obverse, youth and manReverse, two youthsThe figures here give the impression not of human beings in motion but rather of animated sculptures. Their proportions and poses--two open with arms outstretched, two closed--make the decoration an unusually interesting academic exercise. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta Nolan neck-amphora (jar) ca. 460-450 B.C. Attributed to the Achilles Painter Obverse, Eos and TithonosReverse, youthThe composition on the obverse of the vase masterfully catches the element of pursuit, which is at the heart of the story of Eos, the goddess of dawn, and the schoolboy Tithonos. Eos is so close that she almost touches the youth and their feet overlap, but the artist makes the distance between them eternal. The figure on the reverse has not attracted Eos's interest.. Terracotta Nolan neck-amphora (jar) 248733

Attic Red-Figure Stemless Kylix. Attributed to Q Painter (Greek (Attic))

Terracotta column-krater (bowl for mixing wine and water) Attributed to the Detroit Painter ca. 590-570 BCE The glaze on Corinthian vases did not always fuse properly with the body of the vessel and has often peeled off. Only traces remain of the scene on the front of this krater, which shows the marriage of Paris and Helen. The bridal pair stands in a chariot ready to depart, surrounded by four Trojan couples wearing festive dress. A single, armed warrior at the far right leads in the four horsemen shown on the other side of the vase. The names of all the figures are inscribed beside them. Goats and panthers fill the zone below.

Corinthian Aryballos. Goateed Siren Painter (Greek (Corinthian))

Olpe. Bearded Sphinx Painter (Etruscan)

the hero and the goddess the hero and the goddess, bell crater from the funerary chamber of Prince Iltirtiiltir, 4th century BC, necropolis of Piquia, Arjona, Iberian culture, Iberian Museum of Jaén, Andalusia, Spain Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 21720687

Pelike czerwonofigurowa z przedstawieniem Ateny z włócznią i Heraklesa wspartego o maczugę. Malarz Monachium 2363 (ok. 450-440 p.n.e.), author, Malarz Sabouroff, krąg (ok. 475-450 p.n.e.), workshop

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

Greece, Athens, Black-figure amphora depicting Dionysus and satyrs

Greek Vase. Herakles holding a cup of wine and resting on a couch. Visited by Athena. Attic Red Figure vase. 500 BC. Greece.

Harnessing a four horse chariot. Athenian hydria, 500 BC. Vulci. Greek Classical vase painting.

Attic Red-Figure Pelike, Kerch Style. Attributed to the Painter of the Wedding Procession (Greek (Attic), active about 362 B.C.)

Terracotta stemless kylix (drinking cup) last quarter of 5th century B.C. Attributed to the Painter of Ruvo 325 Interior, stamped patternExterior, obverse, trainer and athlete with strigil (scraper);reverse, two athletes with strigilsAthletes continue to decorate vases at the end of the fifth century B.C., but the subject has lost its immediacy.. Terracotta stemless kylix (drinking cup) 250549 : Attributed to the Painter of Ruvo 325, Terracotta stemless kylix (drinking cup), last quarter of 5th century B.C., Terracotta, H. 2 1/8 in. (5.4 cm); diameter 7 1/4 in. (18.4 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1917 (17.230.11)

Lécythe with a bistre and with black figures: Comaste, ancient Greece, 1st quarter of the 5th century BC /-500. Museum of Fine Arts of the City of Paris, Petit Palais. 26979-15 Antiquity, ceramic, black figures, bistre background, Greek frieze, classic Greece, lecythe, character, dishes, vase

CERAMICA POPULAR DE TALAVERA - SIGLO XVI - TONELETE.

Return of Ulysses (Vase) 490 B.C. Greek Art

KERO DECORADO CON MUJERES TRABAJANDO EL CAMPO-ARTE INCA CERCANIAS DE CUZCO- PERU. Location: MUSEO DE AMERICA-COLECCION. MADRID. SPAIN.

Oinochoe (Pitcher). Greek; Athens; Attributed to The Painter of Naples 3136. Date: 440 BC. Dimensions: H. 19.3 cm (7 5/8 in.) diam. 13.7 cm (5 3/8 in.). Terra-cotta, decorated in the red-figure technique. Origin: Athens. Museum: The Chicago Art Institute, USA.

Terracotta krater ca. 750-735 B.C. Attributed to the Hirschfeld Workshop Monumental grave markers were first introduced during the Geometric period. They were large vases, often decorated with funerary representations. It was only in the Archaic period that stone sculptures were used as funerary monuments. On this magnificent krater, the main scene occupies the widest portion of the vase and shows the deceased laid upon a bier surrounded by members of his household and, at either side, mourners. For optimal clarity, the dead man is shown on his side, and the checkered shroud that would normally cover the body has been raised and regularized into a long rectangle with two projections. The zone below shows a procession of chariots and foot soldiers. The figures may refer to the military exploits of the deceased. Because hourglass shields and chariots played a more limited role at this time than in the earlier Bronze Age, the scene more likely evokes the glorious ancestry and traditions t

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia17. 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.

Terracotta lekythos (oil flask). Culture: Greek, Attic. Dimensions: H. 7 1/16 in. (18 cm); diameter of body 2 15/16 in. (7.5 cm); diameter of mouth 1 9/16 in. (3.9 cm). Date: ca. 500-490 B.C..Herakles and Apollo contesting the Delphic tripod, with Artemis and AthenaA favored subject during the third quarter of the sixth century B.C. was the struggle between Herakles and Apollo for the Delphic tripod. The most significant depiction in the Museum's collection appears on a very early red-figure amphora of about 530 B.C. signed by the potter Andokides; it is exhibited in the Greek galleries on the main floor. The lekythos shows a simpler variant of the same subject, complete with the inclusion of white slip, here limited to the shoulder. Museum: Metropolitan Museum of Art, New York, USA.

Campanian Neck Amphora. Attributed to the Owl Pillar Group (Greek (Campanian))

Fragment of a Column Krater (Mixing Bowl). Greek; Corinth; Attributed to the Cavalcade Painter. Date: 580 BC-570 BC. Dimensions: H. 25 cm (9 7/8 in.); w. 21 cm (8 1/4 in.). Terra-cotta, decorated in the black-figure and outline techniques. Origin: Corinth. Museum: The Chicago Art Institute, Chicago, USA. Author: ANCIENT GREEK.

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