BERLIN PAINTER VOLUTE KRATER

1. BERLIN PAINTERVOLUTE KRATER A BUFFALO Presentation ;)

2. ATTRIBUTION DETAILS 1. Name: Berlin Painter Volute Krater 2. When Made: 500-480 BC 3. Size: 65 cm in height 4. Potter: Unknown 5. Painter: The Berlin Painter 6. Why is he identified by this name: He never signed his own name on his work, so they gave him the name ‘Berlin Painter’. This name comes from an amphora found in Berlin. This Volute Krater is the same stylistically as that amphora.

3. THE SHAPE 1. Vase Shape: Volute Krater 2. What is it used for: Mixing wine and water at symposium drinking parties. 3. What makes this krater different to other types of kraters: The handles are different and it is also very stylised 4. Why is this vase shape perfect for its use: It has a larger belly and a wide mouth, so that vessels can be dipped into it.

4. INSCRIPTIONS 1. What inscriptions are found on the vase: The names of the characters/figures 2. Why are these inscriptions included: It is part of narrative technique – naming the characters helps the painter show what is happening in the vase

5. THE SCENE 1. Who is the figure on the right: Athena 2. What is she wearing around her neck: She is wearing her snake covered aegis 3. Give two other ways she can be identified: A) Her spear B) Her helmet

6. THE SCENE: SIDE A 4. Who are the two central figures in this scene: Achilles and Hector 5. Who is standing on the far left: Athena 6. Who is standing on the far right: Apollo 7. What is the myth behind this scene: Achilles fights Hector and is being watched by their two respective divine patrons. In the scene shown, Achilles has already wounded Hector and kills him. Achilles is then killed by Paris and Apollo as revenge for the death of Hector and Troilus.

7. NARRATIVE TECHNIQUE 1. Give three examples of narrative technique referring to the picture on the right: a) Raised feet indicate movement – Apollo is leaving the doomed Hector and waving farewell. The arrow is perhaps a hint of the fate that awaits Achilles b) Swirling drapery shows movement c) Naming characters using inscriptions

8. NARRATIVE TECHNIQUE 2. Give three ways we can tell that the figure on the left is losing the fight: a) Knees are bent as if stumbling backwards b) Blood is spurting from wounds on his chest and leg c) Depicted totally unprotected with his shield twisted around him of his shield

9. NARRATIVE TECHNIQUE 3. Give two ways you can tell the figure on the right is going to win the fight: a) Raised feet, legs moving forward, ready to attack b) Interior view of shield highlights Achilles, compared to Hector appearing deliberately weak because of the placement

10. THE SCENE: SIDE B 4. Who are the two central figures in this scene: Achilles and Memnon (Priam’s brother and King of Ethiopia) 5. Who is standing on the far left: Thetis the sea-nymph (Mother of Achilles) 6. Who is standing on the far right: Eos the goddess of the dawn (Mother of Memnon) 7. What is the myth behind this scene: After the death of Achilles’ cousin Patroclus, Achilles closest companion was Nestor’s son Antilochus. Memnon killed Antilochus so Achilles sought revenge, as with Hector. The heroes’ mothers rushed to Zeus, who weighed their destiny and found Memnon’s the heaviest.

11. NARRATIVE TECHNIQUE 1. Give three examples of narrative technique referring to the picture on the right: a) Hand gestures – Eos pulls her hair out in anguish, realising her son may die b) Raised feet – moving towards her son c) Swirling drapery and emotional realism

12. NARRATIVE TECHNIQUE 2. Give three examples of narrative technique referring to just the two central figures: a) Raised feet – indicating movement and battle b) Memnon holds up his shield to block Achilles’ spear while preparing to strike c) Achilles’ twisting ¾ pose indicates movement

13. COMPOSITION 1. Where on the vase has the painter placed the main frieze: On the neck 2. How does that compare to the decoration of the Francois Vase: The Francois Vase fills space, and groups figures and uses overlapping to create depth

14. COMPOSITION 3. What borders the scene at the top: A complex mirrored lotus and palmette chain – contrasts with the earlier black figure examples, and with those of Euphronios. 4. What borders the scene at the bottom: A singular ground line with a tongue pattern 5. Make three points not already mentioned about the composition of this scene: a) Figures are set in W shape which mimics the shape of the vase. This is emphasised by the clashing of spears on the opposite side. b) The positioning of shields helps give depth and a 3D effect c) The scene is symmetrical on both sides – the ¾ pose of Achilles is mirrored

15. COMPOSITION 6. What are two examples of non-figural ornamentation that have not already been referred to and what is their purpose: a) The vessel shows a reversal of the major artistic trend – no decoration on the body except for a coating of shiny black glaze, and a band of stylised rays at the base of the belly. b) Compared to the Kleophrades Painter Hydria which has a complex scene with many figures over a large proportion of the vase.

16. COMPOSITION 7. In terms of the use if black slip, what makes this vase typical of this painter: Large areas of black slip without decoration are typical to The Berlin Painter 8. In terms of the use of the black slip, why is this vase not typical of this painter: Other vases by The Berlin Painter feature singular figures spotlight on a plain black background, without the framing of supporters of patterns.

17. COMPOSITION 9. What are three similarities in composition between side A and side B: a) Two central figures are engaged in battle with their supporters framing them b) W shape of figures on both sides, which also mimics the shape of the volute kraters c) The figures sit on a single ground line

18. PAINTING TECHNIQUE 1. What painting technique is used on this vase: Red-figure technique 2. Describe this painting technique using the following headings, referring specifically to the picture on the right a) Black Slip: The figures were painted with a relief line first b) Background: The background was then painted with a black slip c) Dilute honey-coloured glaze: Honey-coloured dilute glaze is used for shading d) Added colour – red slip: Red slip used for blood e) Added colour – purple slip:

19. PAINTING TECHNIQUE 3. In terms of paining technique, what is the major difference in the way women are painted in red figure compared to black figure: Dilute slip was also used for detail on the shields, Achilles’ hair, detailing the musculature and painting the major muscles. In black-figure vases women were painted white, while in red-figure women are painted in the same way as men

20. THE END  BUFFALO!!!