Vase Painting
Geometric period – pre 700BC.
Vases were decorated with geometric patterns
Black Figure technique – 700-530BC
Painting figures in black then incising details - starting to depict myths /
scenes on vases
Red figure technique – 530BC onwards
Painting background of pot black leaving space for figures, then painting
on details in black.
, Gorgon Painter
Gorgons pursuing Perseus 600-590BC
Dinos
5 friezes - 3 non-narrative (animals), 1 non-na
Content/Theme
- Decapitated Medusa gracefully falls to the floor, 2 surviving sisters
chase Perseus who runs to his horse, Hermes and Athene look on
- Phallic noses/toothy grins/lolling tongue contribute to monstrosity of
gorgons
- Gorgons dominated by male – fitting for symposium atmosphere
- Details such as Perseus' flowing hair (backwards to indicate speed)
aid the narrative
- Frieze is encircling
Technique
- Design of gorgons is typical of Archaic period (temple of Artemis at
Corcyra)
- Flatness/two dimensionality due to black figure technique
- Figures' legs, chests, and heads drawn in profile contributes to this
- Elaborate wings + pattern on non-narrative friezes – echo of the
geometric period
- Attempts of depth perception with Perseus' sword being slung over
his shoulder - limited by black figure technique.
, Sophilos (signed by him between columns
Wedding of Peleus & Thetis 580-570BC
Dinos
5 friezes, 4 non narrative, 1 narrative
Content/Theme
- Guests form a procession which climaxes at Peleus'
oikos where he greets them - holds a kantharos (elaborate
drinking cup) aloft in cheery welcome
- Frieze is encircling
- Gods are characterised: Hephaestus is mocked by riding a
donkey, Oceanus has the lower limb of a sea snake and
clutches an eel and a fish, Artemis holds a bow, Dionysus
holds a thyrsus (symbol of Dionysian power)
- Artemis' dress mirrors the pattern of the pot
- Thetis is notably absent - likely behind doors of oikos
- 'generally cheery effect' (Woodford) is juxtaposed by
underlying tragedy of Achilles
Technique
- White paint is introduced for women, clothing and horses
– aids depth perception + aesthetic contrast
- Figures are labelled – aids the viewer and supports
narrative
- Chiron is a centaur but has long humanoid feet
Geometric period – pre 700BC.
Vases were decorated with geometric patterns
Black Figure technique – 700-530BC
Painting figures in black then incising details - starting to depict myths /
scenes on vases
Red figure technique – 530BC onwards
Painting background of pot black leaving space for figures, then painting
on details in black.
, Gorgon Painter
Gorgons pursuing Perseus 600-590BC
Dinos
5 friezes - 3 non-narrative (animals), 1 non-na
Content/Theme
- Decapitated Medusa gracefully falls to the floor, 2 surviving sisters
chase Perseus who runs to his horse, Hermes and Athene look on
- Phallic noses/toothy grins/lolling tongue contribute to monstrosity of
gorgons
- Gorgons dominated by male – fitting for symposium atmosphere
- Details such as Perseus' flowing hair (backwards to indicate speed)
aid the narrative
- Frieze is encircling
Technique
- Design of gorgons is typical of Archaic period (temple of Artemis at
Corcyra)
- Flatness/two dimensionality due to black figure technique
- Figures' legs, chests, and heads drawn in profile contributes to this
- Elaborate wings + pattern on non-narrative friezes – echo of the
geometric period
- Attempts of depth perception with Perseus' sword being slung over
his shoulder - limited by black figure technique.
, Sophilos (signed by him between columns
Wedding of Peleus & Thetis 580-570BC
Dinos
5 friezes, 4 non narrative, 1 narrative
Content/Theme
- Guests form a procession which climaxes at Peleus'
oikos where he greets them - holds a kantharos (elaborate
drinking cup) aloft in cheery welcome
- Frieze is encircling
- Gods are characterised: Hephaestus is mocked by riding a
donkey, Oceanus has the lower limb of a sea snake and
clutches an eel and a fish, Artemis holds a bow, Dionysus
holds a thyrsus (symbol of Dionysian power)
- Artemis' dress mirrors the pattern of the pot
- Thetis is notably absent - likely behind doors of oikos
- 'generally cheery effect' (Woodford) is juxtaposed by
underlying tragedy of Achilles
Technique
- White paint is introduced for women, clothing and horses
– aids depth perception + aesthetic contrast
- Figures are labelled – aids the viewer and supports
narrative
- Chiron is a centaur but has long humanoid feet
