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Amphora; Magna Gratia, Apulia, 6th century BC.Ceramic with red figures.It has restorations on
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Description
Amphora; Magna Gratia, Apulia, 6th century BC.
Ceramic with red figures.
It has restorations on fracture lines and repainting.
Provenance: Belgian private collection.
Size: 42.5 x 20 x 17 cm.
Made using the red-figure technique, which stands out for its ornamental pattern, gathered in the body area. The foot is decorated with bands, combining black and red, giving way to the body where the figurative scene, conceived as a frieze, presents on one side the figure of a maenad holding a thyrsus and a leaf of ivy which she places on the altar, and on the other side the face of a lady fashion, both images separated by large palmettes arranged under the handles.
Amphorae are defined as a type with two vertical handles facing each other that go down from the mouth, which is narrow but with a very wide lip, to the beginning of the almost spherical body. It was intended for storing and transporting liquid or solid foodstuffs. The work comes from the region of Apulia in southern Italy, where Daunia, now the province of Foggia, and Messapia, in the southern part of the region, are located. From 320 BC onwards Athens no longer exported pottery, and only a few vessels were produced as prizes for athletes in the Panathenaeans. Pottery from the Italic Peninsula then took the place of Athenian pottery on the Mediterranean market.
Red-figure pottery was one of the most important figurative styles in Greek production. It developed in Athens around 530 BC, and was used until the 3rd century BC. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the colouring is inverted, with the figures highlighted against a dark background, as if illuminated by a theatrical light, following a more natural pattern. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. The red-figure technique, on the other hand, allowed greater freedom. Each figure was silhouetted against a black background, allowing painters to portray anatomical details with greater accuracy and variety.
Ceramic with red figures.
It has restorations on fracture lines and repainting.
Provenance: Belgian private collection.
Size: 42.5 x 20 x 17 cm.
Made using the red-figure technique, which stands out for its ornamental pattern, gathered in the body area. The foot is decorated with bands, combining black and red, giving way to the body where the figurative scene, conceived as a frieze, presents on one side the figure of a maenad holding a thyrsus and a leaf of ivy which she places on the altar, and on the other side the face of a lady fashion, both images separated by large palmettes arranged under the handles.
Amphorae are defined as a type with two vertical handles facing each other that go down from the mouth, which is narrow but with a very wide lip, to the beginning of the almost spherical body. It was intended for storing and transporting liquid or solid foodstuffs. The work comes from the region of Apulia in southern Italy, where Daunia, now the province of Foggia, and Messapia, in the southern part of the region, are located. From 320 BC onwards Athens no longer exported pottery, and only a few vessels were produced as prizes for athletes in the Panathenaeans. Pottery from the Italic Peninsula then took the place of Athenian pottery on the Mediterranean market.
Red-figure pottery was one of the most important figurative styles in Greek production. It developed in Athens around 530 BC, and was used until the 3rd century BC. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the colouring is inverted, with the figures highlighted against a dark background, as if illuminated by a theatrical light, following a more natural pattern. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. The red-figure technique, on the other hand, allowed greater freedom. Each figure was silhouetted against a black background, allowing painters to portray anatomical details with greater accuracy and variety.
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Amphora; Magna Gratia, Apulia, 6th century BC.
Ceramic with red figures.
It has restorations on fracture lines and repainting.
Provenance: Belgian private collection.
Size: 42.5 x 20 x 17 cm.
Made using the red-figure technique, which stands out for its ornamental pattern, gathered in the body area. The foot is decorated with bands, combining black and red, giving way to the body where the figurative scene, conceived as a frieze, presents on one side the figure of a maenad holding a thyrsus and a leaf of ivy which she places on the altar, and on the other side the face of a lady fashion, both images separated by large palmettes arranged under the handles.
Amphorae are defined as a type with two vertical handles facing each other that go down from the mouth, which is narrow but with a very wide lip, to the beginning of the almost spherical body. It was intended for storing and transporting liquid or solid foodstuffs. The work comes from the region of Apulia in southern Italy, where Daunia, now the province of Foggia, and Messapia, in the southern part of the region, are located. From 320 BC onwards Athens no longer exported pottery, and only a few vessels were produced as prizes for athletes in the Panathenaeans. Pottery from the Italic Peninsula then took the place of Athenian pottery on the Mediterranean market.
Red-figure pottery was one of the most important figurative styles in Greek production. It developed in Athens around 530 BC, and was used until the 3rd century BC. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the colouring is inverted, with the figures highlighted against a dark background, as if illuminated by a theatrical light, following a more natural pattern. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. The red-figure technique, on the other hand, allowed greater freedom. Each figure was silhouetted against a black background, allowing painters to portray anatomical details with greater accuracy and variety.
Ceramic with red figures.
It has restorations on fracture lines and repainting.
Provenance: Belgian private collection.
Size: 42.5 x 20 x 17 cm.
Made using the red-figure technique, which stands out for its ornamental pattern, gathered in the body area. The foot is decorated with bands, combining black and red, giving way to the body where the figurative scene, conceived as a frieze, presents on one side the figure of a maenad holding a thyrsus and a leaf of ivy which she places on the altar, and on the other side the face of a lady fashion, both images separated by large palmettes arranged under the handles.
Amphorae are defined as a type with two vertical handles facing each other that go down from the mouth, which is narrow but with a very wide lip, to the beginning of the almost spherical body. It was intended for storing and transporting liquid or solid foodstuffs. The work comes from the region of Apulia in southern Italy, where Daunia, now the province of Foggia, and Messapia, in the southern part of the region, are located. From 320 BC onwards Athens no longer exported pottery, and only a few vessels were produced as prizes for athletes in the Panathenaeans. Pottery from the Italic Peninsula then took the place of Athenian pottery on the Mediterranean market.
Red-figure pottery was one of the most important figurative styles in Greek production. It developed in Athens around 530 BC, and was used until the 3rd century BC. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the colouring is inverted, with the figures highlighted against a dark background, as if illuminated by a theatrical light, following a more natural pattern. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. The red-figure technique, on the other hand, allowed greater freedom. Each figure was silhouetted against a black background, allowing painters to portray anatomical details with greater accuracy and variety.
29th September - Archaeology
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