Misplaced Pages

#525474

22-523: The name "Kleophrades Painter", given him in 1910 by classicist John Beazley , arises from a potter's inscription Kleophrades on a cup now in the Cabinet des Medailles , Paris; after having had this designation for some time, scholars discovered a pelike , now in Berlin, which has the painter's name Epiktetos inscribed on it, and the painter was for a time designated Epiktetos II , distinguishing him from

44-679: A Foreign Honorary Member of the American Academy of Arts and Sciences . Beazley was appointed a Knight Bachelor in 1949, and therefore granted the title sir . He was appointed to the Order of the Companions of Honour in the 1959 New Year Honours "for services to scholarship". In 1919, Beazley married a widow , Marie Ezra (née Bloomfield), whose first husband had been killed in World War I. In their early years together,

66-554: A contemporary painter of the same name. However, in 1981 John Boardman demonstrated that the signature on the vase was a modern forgery, and the Kleophrades Painter returned to anonymity. The Kleophrades Painter is thought to be the son of the potter Amasis, and the pupil of Euthymides , as his earliest work greatly resembles that of his master. He himself had pupils, which include the Berlin Painter and also

88-912: A fifteenth-century Flemish portrait, a Van Eyck or a Van der Weyden . He was never professionally painted, but his wife, a talented untaught artist, drew several heads of him in coloured chalks which are preserved in Oxford, at Balliol , Christ Church , and Lincoln . There is a notebook in Beazley's hand in Bodleian Archives & Manuscripts, the Bodleian Library , Oxford (MS. Eng. misc. e. 1390), containing his notes on Greek literature and sculpture and on Roman history, and also his illustrations of classical statuary and his sketched caricatures of some contemporaries. Classical archaeology Too Many Requests If you report this error to

110-587: A name, e.g. the Berlin Painter , whose production he first distinguished. He looked at the sweep of classical pottery—major and minor pieces—to construct a history of workshops and artists in ancient Athens. The first English edition of his book, Attic Red-figure Vase-painters , appeared in 1942 (in German as Attische Vasenmaler des rotfigurigen Stils , 1925). Beazley retired in 1956, but continued to work until his death in Oxford , on 6 May 1970. His personal archive

132-508: A poem to Beazley, an "invitation to a young but learned friend to abandon archaeology for the moment, and play once more with his neglected Muse". T. E. Lawrence once commented of Beazley that "if it hadn't been for that accursed Greek art, he'd have been a very fine poet". Beazley and Flecker drifted apart as Beazley drifted away from poetry. After graduating, Beazley spent time at the British School at Athens . He then returned to

154-452: A unique way of showing the inner detail of the ear. Although working primarily in red-figure (apart from the borders and patterns previously mentioned), the Kleophrades Painter completed a number of Panathenaic amphorae , many of which were actually used as prizes. All Panathenaic amphorae, not only those by the Kleophrades Painter, are done in black-figure, and his personal pots show great proficiency in this style. The Panathenaic amphorae by

176-542: Is not found anywhere. Although he painted a number of different shapes, the Kleophrades Painter focused mostly on large vases, with the four most common shapes being calyx kraters, hydrias, panathenaic amphorae, and neck amphorae. The provenances of these vases vary, although the great majority are found in Italy. Most of which were sent to Etruria, Vulci, which is now the modern Province of Viterbo. This evidence indicates that many of his vases were intended for export. Although

198-421: Is older and had a clear influence on Kleophrades based on technique and style. He may have started off his training as a black-figure painter, given that on his earliest vases all of the borders and patterns surrounding the painted scenes are done in black-figure. In addition to being trained in both black and red-figure, Kleophrades also used the white ground technique . Kleophrades did use it often and when

220-670: The Gaisford Prize in Greek composition for "Herodotus at the Zoo", a parody of Herodotus in which the historian visits London Zoo . He graduated with a Bachelor of Arts (BA) degree in 1907. While at Oxford, Beazley became a close friend of the poet James Elroy Flecker . They were perhaps lovers, as A. L. Rowse suggested in an article for The Spectator ; certainly their relationship took place within what one biographer has described as an "an aura of bisexuality". The pair founded

242-674: The University of Oxford as a student (equivalent to fellow ) and tutor in Classics at Christ Church . During World War I , Beazley served in military intelligence . For most of the war he worked in Room 40 ( Cryptanalysis ) of the Admiralty 's Naval Intelligence Division , where his colleagues included his fellow-archaeologist Winifred Lamb . He held the temporary rank of second lieutenant from March to October 1916 when he

SECTION 10

#1732780003526

264-449: The "Praxiteles Club" together, a club of which they were the only members. The only rule was that members were to wear a particular blazer, white with gold trimmings. Among Beazley's other friends during this time were John Maynard Keynes , Lytton Strachey , and Rupert Brooke . Beazley was a keen poet in his youth but abandoned it (and ceased even to speak of it) as his scholarly pursuits begun to take up all his time. Flecker addressed

286-524: The Boot Painter. Overall, the Kleophrades Painter is recognized as one of the greatest pot painters in the late Archaic period in Athens. The Beazley Archive Pottery Database has approximately 227 vases either attributed to, near, or compared with the Kleophrades Painter, and of these 227, 113 are directly attributed to this great painter, although aside from the potter's name on the one pelike, his name

308-478: The Kleophrades Painter can be recognized by the representation of Pegasus , the winged horse, on the shield carried by Athena , the manner in which her hair is represented, and the position of the spear behind Athena’s head, as well as the relation of the spear to her face. The Kleophrades Painter's style is praised for the quality of the draughtsmanship, as well as for the vigorous, robust, and well-proportioned figures that he depicted. His influence has been seen in

330-600: The Kleophrades Painter was not a member of the Pioneer Group of red-figure painters, it is suggested that he worked in the Pioneer workshop. The Pioneer workshop included Euphronios , Euthymides, Smikros , Hypsias, and the Dikaios Painter. Beazley as well as Michael Padgett believe that Kleophrades not only worked in the Pioneer workshop, but Kleophrades was also trained and taught by Euthymides. Euthymides

352-593: The painter did it was a sub technique of his black-figure works. As he progresses, one side of the vase will have patterns in black figure, and the other in red, until finally, in his later work, all of the borders and patterns are done in red figure. The attribution of the Kleophrades painter’s work is based on the expressive emotions of his characters, and his work is particularly identifiable through study of his painted faces. The eyes of his figures are often drawn rather long and slender, accompanied by strong chins, and

374-836: The pair kept a goose in Christ Church, which Marie would take out for exercise in Tom Quad . Marie helped Beazley's work by photographing vases for him. Beazley had no children with Marie, though Beazley had a stepdaughter from Marie's previous marriage, Giovanna Marie Therese Babette "Mary" Ezra. Mary Ezra married Irish poet Louis MacNeice . Marie died in 1967. The classical scholar Martin Robertson described Beazley as follows: He had great charm, and could be an amusing and delightful companion; but as he grew older his total deafness and his increasing absorption in his work combined to cut him off to some degree from other people. He

396-633: The work of the Boot Painter and the Troilos Painter . In this latter case, the two artists have decorated vessels apparently by the same potter produced at roughly the same time, making it appear likely that they may have been working in the same workshop. John Beazley Sir John Davidson Beazley ( / ˈ b iː z l i / ; 13 September 1885 – 6 May 1970) was a British classical archaeologist and art historian , known for his classification of Attic vases by artistic style . He

418-537: Was professor of classical archaeology and art at the University of Oxford from 1925 to 1956. Beazley was born in Glasgow , Scotland on 13 September 1885, to Mark John Murray Beazley (died 1940) and Mary Catherine Beazley née Davidson (died 1918). He was educated at King Edward VI School , Southampton and Christ's Hospital , Sussex. He then attended Balliol College, Oxford where he read Literae Humaniores : he received firsts in both Mods and Greats . He won

440-496: Was modest, and took immense trouble with the guidance of his pupils, treating them as equals and winning their devoted affection. He was completely generous in communicating his knowledge, not only to these but to all who consulted him, as in increasing numbers scholars, collectors, and dealers constantly did. In appearance he was somewhat under medium height, slight but well made, with striking blue eyes and fair hair (white in age), and fine rather ascetic features which suggested to many

462-663: Was on secondment to the British Army. In 1925, he became Lincoln Professor of Classical Archaeology and Art at the University of Oxford, a position he held until 1956. He specialised in Greek decorated pottery (particularly black-figure and red-figure ), and became a world authority on the subject. He adapted the art-historical method initiated by Giovanni Morelli to attribute the specific "hands" (style) of specific workshops and artists, even where no signed piece offered

SECTION 20

#1732780003526

484-687: Was purchased by the University of Oxford in 1964. It was originally accommodated in the Ashmolean Museum , but in 2007 it moved into the Ioannou Centre for Classical and Byzantine Studies as part of the new Classical Art Research Centre. Beazley was elected as a Fellow of the British Academy (FBA) in 1927. He was elected to the American Philosophical Society in 1943. In 1954, he was elected

#525474