The name of the Analatos Painter is derived from the central Attic area of Analatos (today Nea Smyrni), where several of his works have been excavated. His name vase is a hydria. His period of activity is estimated to be similar to that of the Mesogeia Painter, between c.700 and 675 BC. It is possible that the Analatos Painter was also a potter.
The Analatos Painter belongs to the transition from Late Geometric to Early Proto-Attic vase painting. He is thought to have been a pupil of the Late Geometric Statathou Painter. The earliest works ascribed to him are still within a clear Late Geometric tradition. For example, one of his Geometric hydriai depicts a prothesis (laying-out of a body), showing Egyptian influences. The adoption of eastern influences was a key feature of the subsequent Orientalising Period, of which the Analatos Painter was one of the main early proponents. Characteristic of this new style were fantastic animals, sphinxes without wings or faces, rows of dancing men or women, cable patterns and rosettes. His oldest known amphora, now in the Ashmolean Museum shows a row of two-horsed chariots on its belly, as does a loutrophoros in the Louvre and several other pieces. In the execution of detail, he frequently followed older precepts.
Besides amphorae and hydriai, he also painted kraters, bowls and lids. A votive plaque attributed to him bears the inscription ΣΟΝΟΣΈΠΙΣΤ ((...)SONOS EPIST(AMENOS): "under the direction of ...son (Name)"), indicating that he was literate; it is the oldest known painted inscription in Greek.
Literature
John Boardman: Early Greek Vase Painting. 11th to 6th Century BC. A Handbook, Thames and Hudson, London 1998 (World of Art), 89 ISBN0-500-20309-1
Pottery, due to its relative durability, comprises a large part of the archaeological record of ancient Greece, and since there is so much of it, it has exerted a disproportionately large influence on our understanding of Greek society. The shards of pots discarded or buried in the 1st millennium BC are still the best guide available to understand the customary life and mind of the ancient Greeks. There were several vessels produced locally for everyday and kitchen use, yet finer pottery from regions such as Attica was imported by other civilizations throughout the Mediterranean, such as the Etruscans in Italy. There were a multitude of specific regional varieties, such as the South Italian ancient Greek pottery.
Black-figure pottery painting, also known as the black-figure style or black-figure ceramic, is one of the styles of painting on antique Greek vases. It was especially common between the 7th and 5th centuries BCE, although there are specimens dating as late as the 2nd century BCE. Stylistically it can be distinguished from the preceding orientalizing period and the subsequent red-figure pottery style.
Red-figure pottery is a style of ancient Greek pottery in which the background of the pottery is painted black while the figures and details are left in the natural red or orange color of the clay.
The Kleophon Painter is the name given to an anonymous Athenian vase painter in the red-figure style who flourished in the mid-to-late 5th century BC. He is thus named because one of the works attributed to him bears an inscription in praise of a youth named "Kleophon". He appears to have been originally from the workshop of Polygnotos, and in turn to have taught the so-called Dinos Painter. Three vases suggest a collaboration with the Achilles Painter, while a number of black-figure works have also been attributed to him by some scholars.
Euphronios was an ancient Greek vase painter and potter, active in Athens in the late 6th and early 5th centuries BC. As part of the so-called "Pioneer Group,", Euphronios was one of the most important artists of the red-figure technique. His works place him at the transition from Late Archaic to Early Classical art, and he is one of the first known artists in history to have signed his work.
The Antimenes Painter was an Attic vase painter of the black-figure style, active between circa 530 and 510 BC.
White-ground technique is a style of white ancient Greek pottery and the painting in which figures appear on a white background. It developed in the region of Attica, dated to about 500 BC. It was especially associated with vases made for ritual and funerary use, if only because the painted surface was more fragile than in the other main techniques of black-figure and red-figure vase painting. Nevertheless, a wide range of subjects are depicted.
The Brygos Painter was an ancient Greek Attic red-figure vase painter of the Late Archaic period. Together with Onesimos, Douris and Makron, he is among the most important cup painters of his time. He was active in the first third of the 5th century BCE, especially in the 480s and 470s BCE. He was a prolific artist to whom over two hundred vases have been attributed, but he is perhaps best known for the Brygos Cup, a red-figure kylix in the Louvre which depicts the "iliupersis" or sack of Troy.
The Providence Painter is the conventional name given to a painter of the Attic red-figure style. He was active around 470 BC.
The Marsyas Painter was an ancient Greek vase painter of the red-figure style active in Attica between 370 and 340/330 BC. The Marsyas Painter is sometimes considered the best of the Attic red-figure painters of the late 4th-century Kerch Style.
The Polyphemos Painter was a high Proto-Attic vase painter, active in Athens or on Aegina. He is considered an innovator in Attic art, since he introduced several mythological themes. His works are dated to between 670 and 650 BC. It is likely that he was not only a vase painter, but also the potter of the vessels bearing his works.
The Mesogeia Painter, also Mesogaia Painter, was an Early Proto-Attic vase painter.
Dodwell Painter was an ancient Corinthian vase painter in the black-figure style whose real name is rather unknown. He was active during the Middle and Late Corinthian periods (c. 600–550 BC) and his works dates back to 580 to 570 BC.
The Painter of Berlin A 34 was a vase painter during the pioneering period of Attic black-figure pottery. His real name is unknown, his conventional name derived from his name vase in the Antikensammlung Berlin. He is the first individual vase painter of the style in Athens recognised by scholarship. His works are dated to circa 630 BC. Two of his vases were discovered in Aegina. Since the 19th century, those pieces were on display in Berlin, but they disappeared or were destroyed during the Second World War.
The Gorgon Painter was one of the early Attic black-figure vase painters. He was active between 600 and 580 BC. His name vase, Dinos of the Gorgon Painter, is currently on display in the Louvre and depicts Perseus fleeing the Gorgons.
Boeotian vase painting was a regional style of ancient Greek vase painting. Since the Geometric period, and up to the 4th century BC, the region of Boeotia produced vases with ornamental and figural painted decoration, usually of lesser quality than the vase paintings from other areas.
Euboean vase painting was a regional style of ancient Greek vase painting, prevalent on the island of Euboea.
Etruscan vase painting was produced from the 7th through the 4th centuries BC, and is a major element in Etruscan art. It was strongly influenced by Greek vase painting, and followed the main trends in style over the period. Besides being producers in their own right, the Etruscans were the main export market for Greek pottery outside Greece, and some Greek painters probably moved to Etruria, where richly decorated vases were a standard element of grave inventories.
The modern scholarly term Hâdra vases describes a group of Hellenistic painted hydriai. Apart from late Panathenaic prize amphorae, it is the only substantial group of figurally or ornamentally painted vases in the Greek world of the 3rd century BC.
Lucanian vase painting was substyle of South Italian red-figure vase painting fabricated in Magna Graecia, produced in Lucania between 450 and 325 BC. It was the oldest South Italian regional style. Together with Sicilian and Paestan vase painting, it formed a close stylistic community.
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