NCEA More Greek Vases

On side A, Herakles is fighting the Libyan giant Antaios.
On side B, a youth is stepping up onto a platform about to play a flute.

-Greater attempt to show emotional realism; pain, despair and anguish are clearly visible.
-Muscles are now rounded and bulge realistically.
-Experimenting with different ways of showing figures: the giant's legs is the first true attempt at foreshortening.

-Herakles and his supporters are contrasted with Antaios and his supporters. The Greeks are neat and civilized.-Herakles' equipment is mirrored by the 2nd supporter of Antaios.
-The figures of Herakles and Antaios form a central triangle which is framed and extended into a W shape by the two females.

1) Calyx Krater
2) Mixing wine and water at symposiums.
3) The potter is unknown. It was painted by Euphronios.
4) Red Figure
5) 510 - 500 BCE
6) 46cm
7) The figures are named in purple glaze and it is signed by Euphronios.

On side A, three drunken revelers are returning from a symposium.
On side B, King Priam assists with his wife Hecuba as Hector arms for the Trojan war.

-Shoulder contours of figures follow shoulder contours of the vase.-Continuous fluid lines give more impression of volume than black figure.
-Incising around hair
-Dark glaze gives an allusion of volume and depth
-Euedemos is in an unusual pose which shows he's not in a stationary position.-Foreshortening is used in the feet.-Hector's helmet disrupts the upper band of decoration

1) Belly Amphora.
2) Storing liquids, wine, oil, honey, etc.
3) Euthymides.
4) Red Figure (Pioneer group).
5) 510 - 500 BCE.
6) 60cm.
7) "As never Euphronius (could do) + characters. named in purple.

1) Skyphos.
2) A drinking cup.
3) Makron painted it, Hieron made it.
4) Red figure.
5) 490 - 480 BCE.
6) 21cm.
7) Figures named in purple.

- The abduction of Helen (side A).- Menelaos, the King of Sparta, is reclaiming Helen after the Trojan War (side B).

-Eyes are still painted frontal when head is in profile.
-Robes are more realistic; the cloak between Paris' leg ends in a "?" shape.-Paris' legs are wide apart to show he is moving with urgency.
-Eros, Aphrodite and the maid-servant, Peitho (persuasion), show Helen was seduced not kidnapped but Paris holds Helen's wrist showing it was not entirely voluntary.-Overlapping and Eros' size and location give an impression of depth.
-Paris, Helen and Aphrodite form a central square which Aeneas and Peitho frame.-The masculine, open and moving Paris and Aeneas are contrasted with the tight, static, feminine group.

1) Pointed Amphora.
2) Storing wine, oils, olives, etc.
3) The Kleophrades Painter / Kleophrades.
4) Red Figure.
5) 500 - 490 BCE.
6) 56cm.
7) Potter's signature.

-Dionysus stands among reveling satyrs and maenads (side A).
-A satyr is playing a double flute (side B).
-Three athletes taking part in various activities (neck)

-The Himation flows behind the Maenads to show movement.-The Chitons are thin and show outlines of the bodies under them.-Eyes are frontal and show a trance-like state.-Mouths are open as if singing or calling out (next to two maenads "beautiful" is inscribed [male and female form respectively])
-Posture gives a mood of ecstasy, eg a maenad has her head thrown back, arms are away from the body as if swinging.-Clothing sways with the movement.
-There is a degree of symmetry on around the two friezes on the neck.

1) Hydria.
2) Used for carrying water.
3) The Kleophrades Painter / Kleophrades.
4) Red Figure.
5) 500 - 480 BCE.
6) 45cm.
7) None of the figures are named.

The vase shows six "triangular" scenes.1) Aeneas fleeing with Ascanius and Anchises (hope).
2) The rape of Cassandra (cruelty).3) Crouching Trojan women (despair / powerlessness)
4) The murder of King Priam (cruelty)
5) A Trojan Woman fighting back (bravery)6) The rescue of Aithra (liberation)