Naples Painter

Painter

Column Krater with Theseus and Amazons c. 450 BC

Sold by Sotheby's, London, Lot 314, 21st May 1984.
COLUMN KRATER
THROWING, MODELING
Red-Figure (pottery)
TERRACOTTA
Standard 413 x 405 Millimetres
87.208
The column krater shape originated in Corinth between c. 652-600 BC and became popular in Athens between c. 475-425 BC. The handles consist of two columns which pass from a projection of the lip (handle-plate) to the shoulder of the body. The lip slopes down slightly from the inner to the outer edge; it is slightly concave in profile and hollow underneath. There is a short, straight neck and a wide body which slopes gently to the foot which has two steps; the lower step has a torus profile while the upper step is more angled. The vase is painted with black-figure floral decorations on the lip, neck and on the body of the vase, where they form a frame the red-figure scenes. On Side A there is an Amazonomachy with four figures while on Side B there are three draped youths in conversation. The colours of the vase are red and black, although the black has fired greenish in places. The vase has been re-assembled from a number of pieces with the neck and lip making up one piece. It is in reasonable condition although chipped slightly around the lip and scratched and pitted on the body. There is a hole drilled in the base. The Naples Painter was a minor ripe classical painter of large pots, particularly column kraters. His name vase in Naples is a column krater which features a Centauromachy. The depiction of the Amazonomachy was probably influenced by large scale wall paintings in Athens which showed Theseus defeating invading Amazons, a story that was identified with the Greek victory over invading Persians in 490 or 480/79 BC. Beazley used the term 'manner' to indicate that the style was similar to that of a named painter. Function: Used for mixing wine and water since the ancient Greeks always drank their wine diluted. Decoration: a) The reserved exterior of the lip is decorated with a black degenerate ivy leaf pattern between black lines. The sloping top of the lip has a black chain of linked lotus buds and the top of the handle-plate has a palmette pattern with side scrolls and two dots. b) Each panel on the body of the vase is framed by thick added red base line, degenerative ivy leaves in black at the sides and black tongues above. The obverse has a pattern of elongated linked lotus buds on the neck. c) Side A: this shows a battle between Greeks and Amazons. In the centre is a naked warrior (perhaps Theseus) facing left with a frontal torso and legs twisted to a profile view. His left leg is forward and his right leg behind. He wears a Corinthian helmet decorated with a dolphin (the crest projects into the framing tongue decoration above) and, on the cheek piece, a snake. The dolphin perhaps refers to Poseidon, father of Theseus, and the snake perhaps to Erichthonius, mythical king of Athens. On the left arm he holds a shield whose inner face is visible and he carries a spear in his right hand. He confronts a mounted Amazon who faces left. The horse and Amazon are depicted in profile with the Amazon holding a spear in her raised right arm. She wears Phrygian cap, shoes, a suit with trousers and sleeves patterned with alternating double stripes and rows of dots and, on top, a chitoniskos with a wavy line pattern as a border. Behind her is a similarly clad Amazon, who faces left, holding a spear in her right arm. Her trousers and sleeves have stripes running vertically. Behind the warrior is a youth facing right, wearing a petasos and a himation with a darkened zig-zag edge. He holds a spear and is stepping out with his left leg; his right leg disappears behind the left hand border. All figures rest on an added red ground line. d) Side B: Three draped youths converge. The youth on the left is depicted in profile facing right with his right arm held out to the right. The middle figure faces left; he also has a profile head, frontal body and his arm held out to the right. Both have shoulder length wavy hair. The third figure on the right has short hair. He is painted in profile facing left with his right arm outstretched, resting on a long stick. He projects rather roughly over the framing border. e) There is a reserved line between each step of the foot and the bottom edge is reserved. The underneath of the handles is also reserved. f) There is a graffito on the underside of the foot, perhaps the owner’s initials or a merchant’s mark.
Purchased from Graham Geddes Antiques and Antiquites with funds from the University of Queensland Alumni Association