Titios Painter (also Tityos Painter) is the name given by modern scholarship to an Etruscan vase painter of the black-figure style. His real name is not known. His activity is dated to the third quarter of the sixth century BC.
Etruscan art was produced by the Etruscan civilization in central Italy between the 9th and 2nd centuries BC. From around 600 BC it was heavily influenced by Greek art, which was imported by the Etruscans, but always retained distinct characteristics. Particularly strong in this tradition were figurative sculpture in terracotta, wall-painting and metalworking especially in bronze. Jewellery and engraved gems of high quality were produced.
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.
About 40 works by the Titios Painter are known, including amphorae, jugs, kyathoi, cups and plates. His name is derived from his name vase, depicting Apollo and Artemis killing Titios. Many of his vases bear only animal friezes, but he also had a special interest in Herakles and his deeds. Most of his vase paintings make copious use of added colour. His figures are usually depicted in dynamic poses. Besides the Paris Painter, who exerted a strong influence on him, the Titios Painter is considered the most important representative of the Pontic Group of vase painters.
An amphora is a type of container of a characteristic shape and size, descending from at least as early as the Neolithic Period. Amphorae were used in vast numbers for the transport and storage of various products, both liquid and dry, but mostly for wine. They are most often ceramic, but examples in metals and other materials have been found. Versions of the amphorae were one of many shapes used in Ancient Greek vase painting.
Kyathos is the name given in modern terminology to a type of painted ancient Greek vase with a tall, round, slightly tapering bowl and a single, flat, long, looping handle. Its closest modern parallel would be a ladle.
In classical archaeology, a name vase is a specific "vase" whose painter's name is unknown but whose workshop style has been identified. The painter is conventionally named after the selected "name vase" that embodies his characteristic style, or for one of its distinctive painted subjects, or for other attributes.
Bibliography
Lise Hannestad: The Followers of the Paris Painter, Munksgaard, Copenhagen 1976
The International Standard Book Number (ISBN) is a numeric commercial book identifier which is intended to be unique. Publishers purchase ISBNs from an affiliate of the International ISBN Agency.
Red-figure vase painting is one of the most important styles of figural Greek vase painting.
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.
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 Nessos Painter, also known as Netos or Nettos Painter, was a pioneer of Attic black-figure vase painting. He is considered to be the first Athenian to adopt the Corinthian style who went on to develop his own style and introduced innovations. The Nessos Painter is often known to be one of the original painters of black-figure. He only worked in this style, which is shown on his name vase in the National Archaeological Museum in Athens. Most of the known Nessos Painter ceramics were found in funerary settings such as cemeteries and mortuaries.
Polygnotos, a Greek vase-painter in Athens, is considered one of the most important vase painters of the red figure style of the high-classical period. He received his training in the workshop of the Niobid Painter and specialized in monumental vases, as in the manner of Polygnotos of Thasos, after whom he probably designated himself. He was the leading vase painter of the Group of Polygnotos which carries his name.
The Penthesilea Painter was a Greek vase painter of the Attic red-figure style. His true name is unknown. His conventional name is derived from his name vase, "bowl 2688" in Munich, the inside of which depicts the slaying of Penthesilea by Achilles. On the basis of that work, John Beazley attributed 177 known vases to the painter, about 100 of which only survive fragmentarily. Bowls, 149 in number, represent the bulk of his work. The rest is distributed among small shapes like skyphoi, kantharoi and bobbins.
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 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 Oreithyia painter was an ancient Greek red-figure vase painter who flourished from 470–460 BCE. He is one of the many painters of the red-figure Classical Period, but his work is not considered the finest or well-known. This is partly because he began painting during the transition from red-figure to black-figure pottery.
The Cavalcade Painter is the conventional name for an ancient Greek vase painter who produced Corinthian black figure vases. He was active during the Middle Corinthian period, around 580 BC.
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.
The Gorgon Painter was one of the early Attic black-figure vase painters. He was active between 600 and 580 BC. His name vase, The Dinos of the Gorgon Painter is currently on display in the Louvre and depicts Perseus fleeing the gorgons.
The Painter of the Vatican Mourner was an Attic black-figure vase painter, active in the middle of the sixth century BC and closely connected with the artists of the E Group. His real name is now known. His name vase is in the Vatican Museum and depicts a mourning woman standing before the nude body of a dead man on a bed of straw. There is no consensus on the interpretation of the scene. Eos and Sarpedon have been suggested, as have Oinone and Paris. John Boardman describes him as a thoughtful but sometimes inprecise artist.
The Lysippides Painter was an Attic vase painter in the black-figure style. He was active around 530 to 510 BC. His real name is not known.
The Arkesilas Cup is a kylix by the Laconian vase painter known as the Arkesilas Painter, whose name vase it is. It depicts, and is thus named after, Arkesilaos II, king of Kyrene and is dated to about 565/560 BC.
The Underworld Painter was an ancient Greek Apulian vase painter whose works date to the second half of the 4th century BC.
The Amykos Painter was an ancient Greek vase painter who worked in the red-figure pottery technique. His exact date of birth and death are unknown.
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