Asteas (active between 350 and 320 BC in Paestum, Southern Italy) was one of the more active ancient Greek vase painters in Magna Graecia, practicing the red-figure style. He managed a large workshop, in which above all hydriai and kraters were painted. He painted mostly mythological and theatrical scenes. He is one of the few vase painters of the Greek colonies whose name comes down to us.
Exekias was an ancient Greek vase painter and potter who was active in Athens between roughly 545 BC and 530 BC. Exekias worked mainly in the black-figure technique, which involved the painting of scenes using a clay slip that fired to black, with details created through incision. Exekias is regarded by art historians as an artistic visionary whose masterful use of incision and psychologically sensitive compositions mark him as one of the greatest of all Attic vase painters. The Andokides painter and the Lysippides Painter are thought to have been students of Exekias.
Red-figure vase painting is one of the most important styles of figural Greek vase painting.
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.
The Kleophrades Painter is the name given to the anonymous red-figure Athenian vase painter, who was active from approximately 510–470 BC and whose work, considered amongst the finest of the red-figure style, is identified by its stylistic traits.
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 Euphronios Krater is an ancient Greek terra cotta calyx-krater, a bowl used for mixing wine with water. Created around the year 515 BC, it is the only complete example of the surviving 27 vases painted by the renowned Euphronios and is considered one of the finest Ancient Greek vases in existence.
The Niobid Painter was an ancient Athenian vase painter in the red-figure style who was active from approximately 470 to 450 BC. He is named after a calyx krater which shows the god Apollo and his sister Artemis killing the children of Niobe, who were collectively called the Niobids. The krater is known as the Niobid Krater and is now housed at the Louvre in Paris. In his other work he shows a preference for Amazonomachy scenes and three-quarter-view faces. His student Polygnotos continued his style of vase painting.
Psiax was an Attic vase painter of the transitional period between the black-figure and red-figure styles. His works date to circa 525 to 505 BC and comprise about 60 surviving vases, two of which bear his signature. Initially he was allocated the name "Menon Painter" by John Beazley. Only later was it realised that the artist was identical with the painters signing as "Psiax".
Hermonax was a Greek vase painter working in the red-figure style. He painted between c. 470 and 440 BC in Athens. Ten vases signed with the phrase "Hermonax has painted it" survive, mainly stamnoi and lekythoi. He is generally a painter of large pots, though some cups survive.
The Phiale Painter, also known as Boston Phiale Painter, was a painter of the Attic red-figure style. He was active around 460 to 430 BC. The Phiale Painter is assumed to have been a pupil of the Achilles Painter. In contrast to his master, he liked to depict narrative scenes. He painted several large calyx kraters, often with two registers of figures; unlike his master, he seems to have preferred larger vessels in general. This is shown by his white-ground works, which are not well known, but more expressive than those of the Achilles Painter. Apart from a number of lekythoi, he painted two chalice kraters in white-ground technique, a rarity at the time. His themes may be partially influenced by contemporary theatre. His preferred name for kalos inscriptions is that of Euaion, son of Aeschylus.
The Pan Painter was an ancient Greek vase-painter of the Attic red-figure style, probably active c. 480 to 450 BC. John Beazley attributed over 150 vases to his hand in 1912:
Cunning composition; rapid motion; quick deft draughtsmanship; strong and peculiar stylisation; a deliberate archaism, retaining old forms, but refining, refreshing, and galvanizing them; nothing noble or majestic, but grace, humour, vivacity, originality, and dramatic force: these are the qualities which mark the Boston krater, and which characterize the anonymous artist who, for the sake of convenience, may be called the 'master of the Boston Pan-vase', or, more briefly, 'the Pan-master'.
The Meleager Painter was an ancient Greek vase painter of the Attic red-figure style. He was active in the first third of the 4th century BC. The Meleager Painter followed a tradition started by a group of slightly earlier artists, such as the Mikion Painter. He is probably the most important painter of his generation. He painted a wide variety of vase shapes, including even kylikes, a rarity among his contemporaries.
The Tarporley Painter was a Greek Apulian red-figure vase painter. His works date to the first quarter of the 4th century BC. The Tarporley Painter is his period's most important representative of the so-called "Plain Style". He is considered to have been the pupil and successor of the Sisyphus Painter, as indicated by his elegant fine-limbed figures and the solemn facial expressions of his woman and cloaked youths. He painted garments in a less balanced style then the Sisyphus Painter. His heads are often oval and lean forwards. The spaces between his figures are often filled with flowers, branches or vines. Over time, his drawing style becomes more fluid, but also less precise. He painted especially on bell kraters, on which he often depicted dionysiac themes and theatrical scenes. His work includes the first known phlyax vase, showing the punishment of a thief, accompanied by a metric verse inscription. Mythological scenes by him are rare. There appears to be an especially close relationship between the work of the Tarporley Painter and that of the Dolon Painter, perhaps they cooperated directly for some time. His succession is represented by three separate schools, each clearly influenced by him. The most important painter of the first is the Schiller Painter, of the second the Hoppin Painter and of the third the Painter of Karlsruhe B9 and the Dijon Painter.
The Tydeus Painter was an ancient Greek vase painter working in the Corinthian black-figure style. His real name is unknown. He was active during the Late Corinthian phase ; his works are dated to about 560 BC.
Paestan vase painting was a style of vase painting associated with Paestum, a Campanian city in Italy founded by Greek colonists of Magna Graecia. Paestan vase painting is one of five regional styles of South Italian red-figure vase painting.
The Amykos Painter was the name given to a South Italian vase painter who worked in the ancient Greek red-figure pottery technique. His exact date of birth and death are unknown.
Python was a Greek vase painter in the city of Poseidonia in Campania, Southern Italy, one of the major cities of Magna Graecia in the fourth Century BC. Together with his close collaborator and likely master Asteas, Python is one of only two vase painters from Southern Italy whose names have survived on extant works. It has even been suggested that the joint workshop of Asteas and Python in Paestum was a family business.
Dipylon kraters are Geometric Period Greek terracotta funerary vases found at the Dipylon cemetery; near the Dipylon Gate, in Kerameikos. Kerameikos is known as the ancient potters quarter on the northwest side of the ancient city of Athens and translates to "the city of clay." A krater is a large Ancient Greek painted vase used to mix wine and water, but the large kraters at the Dipylon cemetery served as grave markers.
The kalyx-krater used measures at 48.4 cm in height and 49.8 cm in diameter. It has a pair of curved handles emerging from the lower body of the vessel and sprouting outward to the lip. The Odysseus in the Underworld krater is a Lucanian calyx krater decorated in the red-figure style dating to ca. 380 BC – ca. 360 BC. It was found in Pisticci, south Italy and is believed to be the work of the Dolon painter, a famous Lucanian red-figure vase painter who worked in the Metaponto workshop and had a particular affinity for large krateres and mythological scenes. The krater is now at the Bibliothèque Nationale in Paris.
The calyx-krater by the artist called the "Painter of the Berlin Hydria" depicting an Amazonomachy is an ancient Greek painted vase in the red figure style, now in the Metropolitan Museum of Art, New York. It is a krater, a bowl made for mixing wine and water, and specifically a calyx-krater, where the bowl resembles the calyx of a flower. Vessels such as these were often used at a symposion, which was an elite party for drinking.
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