Pottery Scholarship

Woodford on the Gorgons Pursuing Perseus dinos’ influences

it shows how diligently Attic vase painters were studying Corinthian models

Woodford on the Gorgons Pursuing Perseus dinos’ style

grandeur has been replaced by neatness

Woodford on artists in the early 7th century

increasingly capable of convincing action and expression

Boardman on the Gorgons Pursuing Perseus dinos’ figures

stiff and mannered

Moignard on the demands of a small number of figures

a choice has been made about which figures to use, and therefore what to emphasise

Woodford on the monsters and animals on the Sophilos Dinos

drawn rather carelessly

Woodford on Sophilos’ use of writing

he liked the written word and made abundant use of it

Boardman on Sophilos’ style

ambitious and lively, but rarely precise

Woodford on Kleitias’ storytelling

a master storyteller, he translates epic poetry into a visual image

Woodford on Kleitias’ use of meaning

meaning is given to every element in the frieze

Boardman on Kleitias’ use of detail

continually varied

Boardman on Kleitias’ use of figures

he pioneers the use of paired figures

Woodford on the Dionysus and the Maenads amphora

a decorative delight

Osborne on the Dionysus and the Maenads amphora

extreme simplicity of composition

Boardman on the composition of the Dionysus and the Maenads amphora

composed with careful symmetry

Boardman on the dynamism of the Dionysus and the Maenads amphora

the impression of movement is never dulled

Woodford on Exekias’ interaction with his medium

he took care to adjust the drawing to the shape of the vessel

Woodford on Exekias’ use of incised detail

exquisite detail and extraordinary delicacy

Osborne on the root of the tension in the Ajax and Achilles Dicing Amphora

the anxiety of knowing the fate of the two men

Pedley on the emotions in the Ajax and Achilles Dicing Amphora

seemingly peaceful, but full of foreboding and pent up rage

Woodford on the Dionysus Sailing Kylix’s impact

one of the most imaginative and haunting

Woodford on the areas in which the Dionysus Sailing Kylix is unmatched

balance of forms and lyrical mood

Boardman on Exekias’ innovation in the Dionysus Sailing Kylix

he breaks Athenian convention to let Dionysus sail across the whole interior

Harris & Zucker on the emotions in the Dionysus Sailing Kylix

a sense of joyousness

Osborne on the use of black figure in the Dionysus Feasting Amphora

flattens the space, without a sense of recession or depth

Osborne on the use of red figure in the Dionysus Feasting Amphora

little is made of the possibility of three dimensional figures

Pedley on the state of black figure around 530

the conventions were becoming stale

Woodford on the relationship between figures and ornament in the Dionysus Feasting Amphora

bold figures are balanced by delicate ornament

Woodford on Euphronios

a powerful artist

Boardman on the Herakles and Antaios Calyx Krater

its precision and line compares with the very best in contemporary statuary

Pedley on motion around 510

vase painters led the way in showing the body in motion

Robertson on the revellers on the Three Men Carousing Amphora

particularly impressive, especially the sophisticated back view

Moignard on the figure in the Three Men Carousing Amphora

achieved with economy of detail and neat control

Williams on the developments of the Pioneers

they learnt to foreshorten, and attempted new, complex poses

Woodford on the Herakles Fighting Amazons Volute Krater

masterly in terms of drawing and composition, but less satisfying as decoration

Woodford on the details of the singing maenad in the Dionysus and the Maenads Pointed Amphora

cleverly used to convey a state of mind

Woodford on the figures on the Achilles Fighting Hector Volute Krater

the anatomy of figures in action had been mastered

Woodford on the ornamentation of the Achilles Fighting Hector Volute Krater

a virtuoso display of red-figure ornament

Pedley on the Achilles Fighting Hector Volute Krater

three-quarter views increase the sense of depth

Williams on the root of the Berlin Painter’s talent

his ability to build elegant details into a graceful, living whole

Osborne on Ajax and Cassandra on the Fall of Troy Hydria

the scene is ambiguous

Robertson on the palm tree on the Fall of Troy Hydria

an extraordinarily powerful symbol of ruin

Robertson on Cassandra on the Fall of Troy Hydria

a brave but primitive attempt at a female nude

Osborne on the scenes at the edges of the Fall of Troy Hydria

more certainly hopeful, not laden with doom

Osborne on the composition of the Fall of Troy Hydria

there is no single focus

Woodford on the portrayal of war on the Fall of Troy Hydria

a heartfelt indictment of war, full of brutal, pointless destruction

Boardman on the Pan Painter

he regularly employs exaggeration

Woodford on the Pan Painter’s style

slightly artificial charm and elegance

Woodford on the Perseus and Medusa Hydria

ballet-like, amusing pantomime

Woodford on Athena on the Perseus and Medusa Hydria

comic daintiness

Woodford on Erechtheus in the Boreas Pursuing Oreithyia Oinochoe

sad and muffled, opening up a new, unimaginable world of feeling

Woodford on the Pan Painter’s influences

looking backwards rather than forwards