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 BC, although there are specimens dating as late as the 2nd century BC. Stylistically it can be distinguished from the preceding orientalizing period and the subsequent red-figure pottery style.
Red-figure vase painting is one of the most important styles of figural Greek vase painting.
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 Kerch style, also referred to as Kerch vases, is an archaeological term describing vases from the final phase of Attic red-figure pottery production. Their exact chronology remains problematic, but they are generally assumed to have been produced roughly between 375 and 330/20 BC. The style is characterized by slender mannered figures and a polychromatism given to it by the use of white paint and gilding.
The Providence Painter is the conventional name given to a painter of the Attic red-figure style. He was active around 470 BC.
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. His conventional name is based on the fact that a painted phiale, a vase shape rarely equipped with figural depictions, is known from him.
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 YZ Group is an assumed group of ancient Greek Attic vase painters of the red-figure style.
The Shuvalov Painter was an Attic vase painter of the red-figure style, active between 440 and 410 BC, i.e. in the High Classical period.
The Sisyphus Painter was an Apulian red-figure vase painter. His works are dated to the last two decades of the fifth century and the very early fourth century BC.
The Foundry Painter was an ancient Greek Attic red-figure vase painter of the Late Archaic period. His real name is unknown; the conventional name is derived from his most famous work, the Berlin Foundry Cup.
The Athena Painter was an Attic black-figure vase painter, active about 490 to 460 BC. His speciality were white-ground lekythoi painted in the black-figure style.
The KX Painter was an Attic black-figure vase painter. He was active between 585 and 570 BC. Besides the KY Painter, the KX Painter was the main representative of the Comast Group, which succeeded the Gorgon Painter. His conventional name was allocated by John Beazley. He is considered the better and chronologically somewhat earlier representative of the group. He was the first painter in Athens to occasionally depict komasts on his vases, a motif adopted from Corinthian vase painting. He mainly painted skyphoi, lekanes, kothones and Komast cups. In contrast to later representatives of the group, he still mostly painted animals, in a more careful and powerful style than the Gorgon Painter. Some mythological scenes by him are also known. Especially famous are his small-fornat mythical scenes placed within animal friezes. The KX Painter can be considered the first Attic painter to achieve a quality at par with that reached in Corinth, then the dominant centre of Greek vase painting. Imitations of his works are known from Boeotia.
Eye-cup is the term describing a specific cup type in ancient Greek pottery, distinguished by pairs of eyes painted on the external surface.
The Leagros Group was a group of Attic black-figure vase painters active during the last two decades of the 6th century BC. The name given to the group by modern scholars is a conventional one, derived from a series of name vases.
The Swing Painter was an Attic black-figure vase painter, active in the third quarter of the sixth century BC. His real name is unknown.
The Arkesilas Painter was a Laconian vase painter active around 560 BC. He is considered one of the five great vase painters of Sparta.
Campanian vase painting is one of the five regional styles of South Italian red-figure vase painting. It forms a close stylistic community with Apulian vase painting.
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