The study closes with a discussion and catalogue of representations of volute-kraters. Brief notes on Neo-Attic marble volute-kraters and volute-kraters in precious metals are appended. Tour the Museum collection and the exhibition Dangerous Perfection: Funerary Vases from Southern Italy to learn how artists approach scenes of death and view the narratives decorating spectacular funerary urns. The development of several types from before the Vix krater until after the Derveni is analysed, and a catalogue of over one hundred given. Volute-kraters were also made in bronze during the archaic and classical period. In the second half of the fifth century, local potteries in South Italy were established that imitated Athenian work: the evolution of their earliest volute-kraters and their debt to Attic are described. The catalogue lists over six hundred examples in black-figure, red-figure and black glaze. The figure work on the neck constitutes a crowning frieze. Special attention has been paid to style, patternwork, and profile in order to identify new potters and painters, their interconnections, and their chronological framework. On the neck, obverse and reverse, Dionysos, the god of wine, and his followers, satyrs and maenads The architectonic character of this volute-krater is as great as that of the adjacent one, but the detail is quite different. The central chapters study the evolution of the volute-krater in the Athenian potters' quarter from the late seventh century until the middle of the fourth. The first chapter sketches the background from which the first Attic volute-kraters emerge, as well as discussing ceramic volute-kraters made in other Greek potteries in the sixth century, including Sparta, Corinth, Northern Greece and Reggio di Calabria. These scenes cannot be attributed to Exekias, but the phenomenon calls for a reconsideration of how we understand the relationships between members of a group of vase-painters working close to one another, and also challenges our purist expectation that an ancient vase-painting is the jealously guarded creation of a single hand.This dissertation traces the developments in shape and decoration of one of the grandest mixing vessels made in Athens from the late seventh century B.C. ![]() Some of these ‘alternative’ details recur in scenes by painters variously identified as Near Group E, Manner of Exekias, Near Exekias, as well as the Lysippides Painter and his Manner, on vases that in some cases present other similarities to Exekias’ works. Although one must allow for artistic variation of quality, it is puzzling to encounter a divergence of style from obverse to reverse of the same vase: within days, if not hours, the master apparently represented numerous small and relatively insignificant details of human and equine anatomy in a quite different way, thus running counter to the expectations of Morellian attribution. The problem is particularly to be seen on the vases of Exekias’ middle phase, several of which present a superbly observed obverse, teamed with a reverse that is by comparison noticeably less impressive in composition and execution. Anyone who has worked closely on the pots of Exekias will have wrestled with the problem of some ‘B-sides’, where certain characteristic stylistic features on the reverse do not coincide with those on the obverse.
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