The YZ Group is an assumed group of ancient Greek Attic vase painters of the red-figure style.
Individual artists can only be identified with difficulty. The group was given its conventional name by John D. Beazley during his studies of Attic red-figure was painting. He named the group "YZ" because he recognised their work as the latest known figural red-figure paintings. In analogy with the alphabet, "YZ" stands for the end of red-figure painting in Athens. The group was active around 320 BC. The exact date of the end of red-figure painting remains unclear, because no detailed chronology can be developed from the vases. The fact that YZ vases are relatively numerous may indicate that their production, though short in duration, was large in output. They depict erotes , women and Nike. The tondos of bowls resemble works from the early 4th century, but are more casual and coarse in execution. Apart from bowls, askoi , pyxides and small lebetes gamikoi were also painted.
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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.
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.
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 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 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.
The Amasis Painter was an ancient Greek vase painter who worked in the black-figure technique. He owes his name to the signature of the potter Amasis, who signed twelve works painted by the same hand. At the time of the exhibition, "The Amasis Painter and His World" (1985), 132 vases had been attributed to this artist.
Andokides was an ancient Athenian vase painter, active from approximately 530 to 515 B.C. His work is unsigned and his true name unknown. He was identified as a unique artistic personality through stylistic traits found in common among several paintings. This corpus was then attributed by John D. Beazley to the Andokides Painter, a name derived from the potter Andokides, whose signature appears on several of the vases bearing the painter's work. He is often credited with being the originator of the red-figure vase painting technique. To be sure, he is certainly one of the earliest painters to work in the style. In total, fourteen amphorae and two cups are attributed to his hand. Six of the amphorae are "bilingual", meaning they display both red-figure and black-figure scenes.
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.
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 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 Jena Painter was an ancient Greek vase painter, active in Athens around 400 BC. He mainly painted kylikes in the red-figure technique. His stylistic and chronological place was first determined by the British Classical archaeologist, John D. Beazley. Beazley chose the conventional name "Jena Painter" because a large proportion of the artist's surviving works were in the possession of Jena University. The majority of his 91 known vessels were discovered in the Kerameikos, the potters' quarter of ancient Athens, in 1892. Many of his vessels were exported, for example to Etruria and North Africa. The Jena Painter appears to have had two assistants whose work is described as style B and style C. The Jena Painter would paint the internal images of bowls, and the style B assistant their outsides. The work of the style C assistant is known only from, bowl skyphoi and footless bowls. In contrast to his assistants' rather casual drawings, the Jena Painter is distinguished by his fine and careful drawing style and the vividness of his compositions. The Q Painter and the Diomedes Painter worked in the same workshop as the Jena Painter.
Eucharides Painter is the common nickname of an ancient Greek artist who decorated but did not sign Attic vases. Neither his real name, nor the dates of his birth and death are known. Presumably this artist was a pupil of the Nikoxenos Painter.
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 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.
The Painter of the Dresden Lekanis is the common name for a vase painter of the Attic black-figure style, active around 580–570 BC. He emigrated to Boeotia and is in fact identical with the Boeotian Horse-bird Painter.
The Little masters were a group of potters and vase painters who produced vases of the Attic black-figure style featuring well-done figures in miniature. They were active in Athens approximately 560–530 BC. They mainly produced Little-master cups: lip cups, band cups, and droop cups, but were not entirely limited to such shapes. The group includes:
The term Three Line Group describes a group of Attic black-figure vase painters, as well as a type of vase. They belong to the last quarter of the sixth century BC.
The Lysippides Painter was an Attic vase painter in the black-figure style. He was active around 530 to 510 BC. His conventional name comes from a kalos inscription on a vase in the British Museum attributed to him; his real name is not known.
