The Ilioupersis Painter (also spelled Iliupersis) was an Apulianvase painter. His works are dated to the second quarter of the 4th century BC.
The Ilioupersis Painter begins to the beginning of the middle phase of Apulian vase painting, and the start of the so-called Ornate Style. His conventional name is derived from his name vase, a volute krater in the British Museum with depictions of the iloupersis (the sack of Troy). He followed the tradition of the Dijon Painter, but was an innovative artist who introduced significant aspects to Apulian vase painting. Thus, he introduced the depictions of grave scenes (naiskos vases) into the repertoire of motifs, started the habit of rippling the lower parts of vessel surfaces, and invented the decoration of the handles of volute kraters with circular medaillons depicting faces. The motif of a female head rising between tendrils from a flower was also first painted by him. His motifs include mythological and dionysiac scenes, as well as genre scenes with erotes, men and women. His most important vessel shape is the volute krater, which became the dominant shape in Apulia maybe due to his influence. Nonetheless, the over 100 works attributed to him include many other shapes. He was one of the first vase painters to substantially use additional white and yellow colour. Sometimes, he also utilised red and brown. His most important collaborator and colleague at the same workshop was the Painter of Athens 1714; the many successors continuing his tradition include the Painter of the Dublin situlae.
Bibliography
Rolf Hurschmann: Iliupersismaler, in: Der Neue Pauly 5 (1998), col 938.
Arthur Dale Trendall: Rotfigurige Vasen aus Unteritalien und Sizilien. Ein Handbuch. von Zabern, Mainz 1991 (Kulturgeschichte der Antiken Welt Vol. 47), esp. p.91-94 ISBN3-8053-1111-7
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.
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.
Sophilos was an Attic potter and vase painter in the black-figure style. Sophilos is the oldest Attic vase painter so far to be known by his true name. Fragments of two wine basins ('’dinoi’’) in Athens are signed by him, indicating that he both potted and painted them. In total, 37 vessels are ascribed to him, mostly amphorae, '’dinoi’’, kraters, as well as three pinakes. Apart from his work for the domestic market, he was also one of the masters of major significance in the process of supplanting the dominance of Corinthian vase painting in the markets of Etruria, and Southern Italy, the most important export area for Greek vases. His works were exported as far as the Black Sea region, Syria and Egypt (Naukratis). He was one of the first painters to use additional colours at a grand scale, thus increasing the optical and artistic distinction between Corinthian and Attic vase painting. While he was conservative and traditionalist in terms of the ornamentation and animal figures he used, his intervening figural scenes, mostly of mythological motifs, were entirely innovative. He broke up established standard scenes, had figures act individually, and found clever and unconventional new ways of structuring the narrative. As his artistic style progressed, he increasingly pushed ornamental designs into the margin, as his figural scenes became more and more important. Stylistically, his work is close to that of the late Gorgon painter, whose style he developed further, to be continued later by Klitias, and culminate in the François vase. In spite of his innovative pictorial compositions and his talent to constantly invent new scenes; his drawing style was usually not very accurate. The overall impact of his works is hardly diminished by that.
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 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.
Lydos was an Attic vase painter in the black-figure style. Active between about 560 and 540 BC, he was the main representative of the '’’Lydos Group’’’. His signature, ό Λυδός, ho Lydos, the Lydian, inscribed on two vases, is informative regarding the cultural background of the artist. Either he immigrated to Athens from the Lydian empire of King Kroisos, or he was born in Athens as the son of Lydian parents. In any case, he learned his trade in Athens.
Geometric art is a phase of Greek art, characterized largely by geometric motifs in vase painting, that flourished towards the end of the Greek Dark Ages, circa 900 BC – 700 BC. Its center was in Athens, and from there the style spread among the trading cities of the Aegean. The Greek Dark Ages lasted from c. 1100 to 750 BCE and include two periods, the Protogeometric period and the Geometric period, in reference to the characteristic pottery style. The vases had various uses or purposes within Greek society, including, but not limited to, funerary vases and symposium vases.
The Meleager Painter was an ancient Greek vase painter of the Attic red-figure tradition. 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. His conventional name is derived from several vases depicting hunters, including Atalante and her lover Meleagros. Colonette kraters and bell kraters by him normally bear dionysiac motifs. Like other painters of his time, he liked to paint figures wearing oriental garb. The tondos inside his kylikes are often framed by wreaths. They mostly depict groups of deities or individual gods. The outsides of kylikes and the paintings on the backs of other vases by him are often of inferior quality.
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 Darius Painter was an Apulian vase painter and the most eminent representative at the end of the "Ornate Style" in South Italian red-figure vase painting. His works were produced between 340 and 320 BC.
The Baltimore Painter was an Apulian vase painter whose works date to the final quarter of the 4th century BC. He is considered the most important Late Apulian vase painter, and the last Apulian painter of importance. His conventional name is derived from a vase kept at the Walters Art Museum in Baltimore.
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 Varrese Painter was an Apulian red-figure vase painter. His works are dated to the middle of the 4th century BC.
Apulian vase painting was a regional style of South Italian vase painting from ancient Apulia. It comprises geometric pottery and red figure pottery.
Laconian vase painting is a regional style of Greek vase painting, produced in Laconia, the region of Sparta, primarily in the 6th century BC.
Canosa vases are a type of pottery belonging to ancient Apulian vase painting. They were produced between 350 and 300 BC and designed exclusively for funerary use.
Gnathia vases are a type of pottery belonging to ancient Apulian vase painting of the 4th century BC.
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.
Lucanian vase painting was substyle of South Italian red-figure vase painting, 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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