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29-538: The Gorgon Painter is considered as a very productive successor of the Nessos Painter . Additionally, in accordance with other Geometric style artists, he arranged his subjects in symmetric patterns. Characteristic of his paintings are flat representations of humans or gods and animals painted in sections around the pottery. Rather than filling blank spaces with geometric patterns, the Gorgon Painter uses

58-495: A beard and his usual attire of a lion skin cloak and lion mask. The names of both Nessos and Heracles are written above them, indicating that either the artist or someone in his workshop was literate. The rest of the scenery features symbols typical for late rosettes . Scholars have noted that the scene may have been depicted under water due to symbols featured above the image - ducks, zig zags, and spirals. The vase's artwork puts an emphasis on Heracles and does not feature Deianira in

87-468: A cemetery outside the city, paintings of chimera were identified with this painter and Beazley subsequently tried to use the name 'Chimera Painter,' but it failed to find general acceptance. Although many Greek sculptors signed their work on sculpted friezes , pot painters did not often sign their work, remaining unknown until historians such as Beazley produced modern names. Many of the artist's known works feature characters from Greek myths and legends. On

116-549: A groundline but not extending all the way around the vase, is a running spiral, a rare pattern ornament in Attic Red Figure vase paintings. His two most popular characters from mythology are Athena and Apollo. Fawns and Greek animals are also popular themes in his work, which varied from mythological themes to athletes. His most popular shape is the amphora . He produced a series of Panathenaic amphora , which are his only black-figure vases. Although it appears that

145-434: A love potion for Heracles. Unbeknownst to her, his blood is poisonous. Eventually, Deianira, jealous of Heracles's many sexual conquests, smears Nessos's blood on Heracles's cloak, burning his skin, driving him mad, and killing him. The vessel also has a depiction of Deianira riding away in a chariot with four horses, a scene that occurs after Heracles has saved Deianira and returns to strike the centaur once more to make sure he

174-712: A member of the Pioneer Group , who introduced red-figure painting. The Berlin Painter began working in the Late Archaic style and helped develop the Classic style of Attic red-figure pottery. Over a long career he trained many younger vase-painters, including, probably, the Achilles Painter . The majority of his works have been found across Italy. This may suggest that they were created for export to

203-406: A unified contour isolated against the black background of the vase. Side B: Satyr. A satyr stands to the right, holding a large kantharos and a lyre. The kantharos is raised to his lips, while he holds the lyre at his side, his fingers touching the stings. His long hair is tied at his neck and he wears a wreath. Above the scene is a carefully drawn band of ivy leaves and grape bunches; below, forming

232-572: Is dead. This myth was so popular with the Etruscans that they ended up purchasing many vessels depicting the scene. Another distinctive feature of the Nessos Painter was the scale of some of his work, which reached over a meter in height. In the name vase amphora depicting Nessos fighting Heracles, the painter utilizes iconography such as a depiction of Heracles with a mustache. This differs from artwork that typically shows Heracles with

261-533: Is widely regarded as among the most talented vase painters of the early 5th century BC. There are no painter signatures on any of the Berlin Painter's attributed works. From the surviving vases, it is safe to assume that he was a major painter, there are over 400 vases and fragments attributed to him. The Berlin Painter along with his apparent rival the Kleophrades Painter was educated by

290-581: The Animal style ; depicting real and fantastical animals in friezes around the vases which is considered to be a Corinthian tradition. The better recorded artist Sophilos is said to be influenced by the Gorgon Painter, continuing work in the black-figure style and zoomorphic decoration. The Gorgon Painter is considered to use the Corinthian style, or Animal style, in his pottery. The name comes from its place of popularity, Corinth . Not to be mistaken with

319-584: The Corinthian order , within Corinthian there are different subsets including what is called Animal style, which is what the Gorgon painter is partially known for; the Animal style is marked by no geometric shapes, but rather larger depictions of animals and plants. Unlike many early depictions of animals, the Animal style does not have the animals facing the same direction, rather they interact with each other and

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348-411: The proto-Corinthianstyle , using space-filling ornamentation like that of the Berlin Painter . The 'Nessos' vase shows the artist establishing a style distinct from the Corinthian style, which at this stage (late 7th century BCE) was marked by clear clay fields and contour drawing . The ornamentation and contour drawing was the critical distinction of the new black-figure style. Most of his work falls in

377-547: The Italian market. Many of his valued works were preserved as élite grave goods in the necropoleis of Magna Graecia and Etruria , notably at Vulci , Nola and Locri . The Berlin Painter was named by British art historian Sir John Beazley for a large lidded amphora in the Antikensammlung Berlin (the Berlin Painter's name vase ). The vase is in good condition. The obverse is well preserved, but

406-478: The Nessos Painter's name vase uses emotions portrayed through the story of Heracles killing Nessos. According to Martin Robertson, The Nessos Painter is considered by historians to be the essential link between classical Attic vase painting and the new Corinthian style , which uses animal motifs and mythological figures and scenes. It is sparing in its use of white opaque, but often uses red pigment to intensify

435-537: The Panathenaic shape is his favorite, the Berlin Painter utilized a variety of different shapes. He painted a number of Nolan amphora , and was responsible for the popularity of that form. On his other vases, painted red figures are usually isolated or paired without framing devices against a glossy black ground. So integral to the forms of their superbly-made bodies; it is thought the wares themselves were also produced in his shop. The tall figures often start near

464-547: The bottom of his single figures, and are unique to the Berlin painter and his students. The pattern features alternating meander boxes with alternating saltire squares. A masterpiece of Greek vase painting is the kithara player and singer attributed to the Berlin Painter and held at the Metropolitan Museum of Art . The curve of the instrument mimics the curve of the vase, and the fabric seems to undulate with

493-540: The center, something that historians such as R.M. Linders believed was done to emphasize Heracles slaying the centaur Nessos. Another rare example of his works would include Attic black-figure Neck Amphora Fragment, discovered in Attica, Greece in about 620 BCE. Berlin Painter The Berlin Painter (active c. 490–460s BC) is the conventional name given to an Attic Greek vase-painter who

522-666: The known Nessos Painter ceramics were found in funerary settings such as cemeteries and mortuaries. On the neck of an amphora in the National Archaeological Museum of Athens , the painter depicted Nessos fighting Heracles . The figure is also marked with the name 'Netos', the Attic dialect form of the name Nessos. John D. Beazley , the authority on Attic vase painting, attributed the name 'The Nessos Painter' to this artist. Later, after new finds in Athens and in

551-707: The last quarter of the 7th century, during the transition from the proto-Corinthian to Corinthian. During this time he did not completely abandon contour drawing, but by using two or more etched lines he introduced a new sharpness and suggestion of form - most particularly with curls, feathers and spring designs. The Nessos Painter also utilized the black-figure style along with artists such as Exekias , and Sophilos . This style may have contributed towards Athenian realism. Black-figure style originated in Corinth, but became very popular among Athenians. Athenian realism may also have begun with black-figure painting. The painting on

580-408: The left. He is holding a barbiton (lyre) in one arm, his fingers splayed across the strings. In his other hand, held out behind him, he holds the end of a string attached to the lyre. He has a long beard and wears a wreath, and his right leg is shown in three-quarters view. A fawn stands between the two figures, its head gracefully turned up. The figures are carefully superimposed on one another, forming

609-442: The middle of the vase and continue over the shoulder, stopping at the neck. He pays close attention to the drapery of their clothing, and their facial features. Most notable is the eye, which is typically open, long, and with the pupil towards the inner eye. The Berlin Painter used dilute glaze to add red tones onto his vases. This is clear on the fawn's coat in his namepiece. He is also known for his careful key patterns, which border

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638-565: The most popular myth represented on pottery at this time. This particular depiction shows Perseus fleeing the Gorgons after fulfilling his duty to kill Medusa . Although this dinos is the most well-known work attributed to the Gorgon Painter, it is not the only work. The Gorgon Painter often used Gorgons in his works as shown in the image of the plate, as well as animals rather than established geometric shapes. Nessos Painter The Nessos Painter, also known as Netos or Nettos Painter,

667-412: The neck of a Middle Protoattic vase from the 7th century BCE, located in National Archaeological Museum of Athens , the painter depicted Nessos fighting Heracles. In this depiction Heracles is moving from left to right, opposite the direction that a victor would take, prompting the belief that most of the Nessos Painter vessels are found in funerary settings. The painter's early works are reminiscent of

696-462: The other elements of the piece. Historians have noted that the Gorgon Painter uses both old myths and depictions alongside newer versions, which is how they have identified him as a singular artist. The Gorgon Painter’s name vase depicts the Greek myth of Perseus and the Gorgons. This particular myth was quite common and is seen on many pieces of pottery by many different artists, it is considered

725-539: The red color of the clay. It is theorized by John Boardman that Egyptian figure painting may have influenced the Nessos Painter and his contemporaries, as the Egyptians used white to signify that a face belonged to a female and red to indicate that it belonged to a male. H.H. Scullard argues that Greece did not produce black-figure pottery, contributing to the demand of imported vessels in a style that has become popular among citizens that have traveled to Athens. Neither

754-421: The reverse has suffered surface wear and discoloration. Side A: satyr and Hermes. Hermes strides to the right swinging his arms. He holds a large kantharos and a kerykeion (herald's wand) in his forward hand, and a small oinochoe in his hand which he swings behind him. He is dressed in a short tunic and chlamys, and wears a winged cap and winged boots. A satyr stands in front of him facing right, his head turned to

783-508: The vessel shows Heracles trying to rescue Deianira from the centaur Nessos whom he shoots with his arrow. The story involves Deianira and Heracles summoning the centaur Nessos to cross the river Evenus in order to escape Oineus who was upset about his murdered nephew. Heracles crosses the river first, leaving Deianira with Nessos who attempts to rape her. Heracles, being so far away can only use his bow and arrow to shoot Nessos. While Nessos lays dying, he offers Deianira some of his blood to use as

812-402: Was Greece known for producing pottery that focused on religious subject matter, making Athens and artists such as the Nessos Painter even more popular among foreign travelers. Myths of Heracles originated with the Etruscans who were fascinated by the demigod and stories of his travels to the underworld and ascent to Mount Olympus to live with the gods after his death. The myth portrayed on

841-453: Was a pioneer of Attic black-figure vase painting. He is considered to be the first Athenian to adopt the Corinthian style who went on to develop his own style and introduced innovations. The Nessos Painter is often known to be one of the original painters of black-figure. He only worked in this style, which is shown on his name vase in the National Archaeological Museum in Athens . Most of

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