Kerch style: Difference between revisions

Browse history interactively

← Previous edit

Content deleted Content added

VisualWikitext

Inline

Latest revision as of 04:57, 3 July 2023

Judgement of Paris on a pelike, Painter of the Wedding Procession, circa 360 BC. Malibu, Getty Museum.

A krater by the Painter of Athens 1375, circa 375/50 BC. Paris, Louvre

The Kerch style /ˈkɜːrtʃ/, 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 vases are thus named because a large quantity of them were found at Kerch (ancient Pantikapaion) on the Black Sea coast of Crimea. The majority of these are now in the Hermitage Museum, St. Petersburg. It is not possible to set formal criteria which separate them stylistically from the contemporary plain style of late classical vase painting around painters like the Jena Painter or the Meleager Painter. The end of the Kerch style coincides with the end of red-figure painting as a whole. The identification of individual painters is often difficult.

At the time of their production, Kerch style vases were exported to all of the Mediterranean region, but unlike earlier phases, the Black Sea area was the main market for this late phase of Attic pottery export. Most of the previously current vase shapes were still painted, but kraters, lekanes (see Typology of Greek Vase Shapes) and pelikes were especially popular. The motifs are mostly scenes from the life of women (often exaggeratedly idyllic), dionysiac themes and subjects to do with Artemis and Demeter. Fighting griffins are another common subject. The figures are often elegant and highly decorated, and in some cases painters have emphasized certain stylistic qualities at the expense of naturalism. Details and ornamentation played an important role, the best works resemble examples from the fifth century BC. White, yellow and red were often used as additional colours. The casual painting of the backs of vases is another typical feature.

Dionysos (here unseen), maenads and Eros, hydria by the Louvre CA 928 Group, ca. 375 BC, Louvre.

Hydria by an unknown painter, a woman and Arimaspos riding a gryphon, circa 370/50 BC. Paris, Louvre.

The Marsyas Painter, the Eleusinian Painter and the Painter of Athens 12592 mark a short and final flourish in the quality of Attic vase painting. Shortly afterwards, the activities of the YZ Group painters produced a multitude of vases of inferior quality in a number of workshops. Their end is also that of the Attic red-figure tradition. Recent research has thrown new light on this long-neglected field. The vases were first studied systematically by Karl Schefold. The most important scholar of Attic vase painting, John D. Beazley, only developed an interest in them late in his career; he did not agree with all of Schefold's views. In recent years, the analysis of fourth-century BC Panathenaic amphorae from Eretria has provided new results. Additionally, it has been demonstrated that Kerch style vases were also produced outside Attica, for example in Chalkidiki. Generally, the South Italian red-figure vase production of the time was superior to the Attic Kerch Style. The South Italian production also continued somewhat longer.

Representatives of the style include:

Bibliography

John D. Beazley: Attic red-figure vase-painters. Oxford 1963.
John Boardman: Rotfigurige Vasen aus Athen. Die klassische Zeit, von Zabern, Mainz 1991 (Kulturgeschichte der Antiken Welt, Vol 48), especially p. 198-203 ISBN 3-8053-1262-8.
Stella Drougou: Kertscher Vasen, in DNP 6 (1999), col. 447f.

External links

Lebes gamikos at the Hermitage Museum

@@ Line 1: / Line 1: @@
+{{Short description|375–330/20 BC Greek pottery style}}
-[[Image:Judgement Paris Getty Villa 83.AE.10.jpg|thumb|[[Judgement of Paris]] on a ''[[pelike]]'', [[Painter of the Wedding Procession]], ''circa'' 360 BC. [[Malibu, California|Malibu]], [[Getty Museum]].]]
+{{multiple image
-[[Image:Calyx-krater Athens 1375 Louvre CA153.jpg|thumb|left|A ''[[krater]]'' by the [[Painter of Athens 1375]], ''circa'' 375/50 BC. [[Paris]], [[Louvre]]]]
+| image1 = Judgement Paris Getty Villa 83.AE.10.jpg|width1=233
+| caption1 = [[Judgement of Paris]] on a ''[[pelike]]'', [[Painter of the Wedding Procession]], ''circa'' 360 BC. [[Malibu, California|Malibu]], [[Getty Museum]].
+| image2 = Calyx-krater Athens 1375 Louvre CA153.jpg|width2=200
+| caption2 = A ''[[krater]]'' by the [[Painter of Athens 1375]], ''circa'' 375/50 BC. [[Paris]], [[Louvre]]
+}}
+The '''Kerch style''' {{IPAc-en|ˈ|k|ɜr|tʃ}}, also referred to as '''Kerch vases''', is an archaeological term describing vases from the final phase of [[Attica|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.
+[[File:Apollonia Painter - Red-Figure "Kerch"-Style Lekythos - Walters 4884 - Right (cropped).jpg|thumb|left|Apollonia Painter - Late Classical Red-Figure "Kerch"-Style ''[[lekythos]]'', c. 350 BC, height: 35.5 cm (14 in), diameter: 16.7 cm (6.6 in)]]
+The vases are thus named because a large quantity of them were found at [[Kerch]] (ancient [[Panticapaeum|Pantikapaion]]) on the [[Black Sea]] coast of [[Crimea]]. The majority of these are now in the [[Hermitage Museum]], [[St. Petersburg]]. It is not possible to set formal criteria which separate them stylistically from the contemporary ''plain style'' of late [[Classical Greece|classical]] vase painting around painters like the [[Jena Painter]] or the [[Meleager Painter]]. The end of the Kerch style coincides with the end of red-figure painting as a whole. The identification of individual painters is often difficult.
+At the time of their production, Kerch style vases were exported to all of the Mediterranean region, but unlike earlier phases, the Black Sea area was the main market for this late phase of Attic pottery export. Most of the previously current vase shapes were still painted, but ''[[krater]]s'', ''lekanes'' (see [[Typology of Greek Vase Shapes]]) and ''[[pelike]]s'' were especially popular. The motifs are mostly scenes from the life of women (often exaggeratedly idyllic), [[Dionysos|dionysiac]] themes and subjects to do with [[Artemis]] and [[Demeter]]. Fighting [[griffin]]s are another common subject. The figures are often elegant and highly decorated, and in some cases painters have emphasized certain stylistic qualities at the expense of naturalism. Details and ornamentation played an important role, the best works resemble examples from the fifth century BC. White, yellow and red were often used as additional colours. The casual painting of the backs of vases is another typical feature.
-The '''Kerch style''' ({{IPAc-en|icon|ˈ|k|ɜr|tʃ}}), also referred to as '''Kerch vases''', is an archaeological term describing vases from the final phase of [[Attica|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 vases are thus named because a large quantity of them were found at [[Kerch]] (ancient [[Panticapaeum|Pantikapaion]]) on the [[Black Sea]]. The majority of these are now in the [[Hermitage Museum|Eremitage]], [[St. Petersburg]]. It is not possible to set formal criteria which separate them stylistically from the contemporary ''plain style'' of late [[Classical Greece|classical]] vase painting around painters like the [[Jena Painter]] or the [[Meleager Painter]]. The end of the Kerch style coincides with the end of red-figure painting as a whole. The identification of individual painters is often difficult.
-At the time of their production, Kerch style vases were exported to all of the Mediterranean region, but unlike earlier phases, the Black Sea area was the main market for this late phase of Attic pottery export. Most of the previously current vase shapes were still painted, but ''[[krater]]s'', ''lekanes'' (see [[Typology of Greek Vase Shapes]]) and ''[[pelike]]s'' were especially popular. The motifs are mostly scenes from the life of women (often exaggeratedly idyllic), [[Dionysos|dionysiac]] themes and subjects to do with [[Artemis]] and [[Demeter]]. Fighting griffins are another common subject. The figures are often elegant and highly decorated. But they are very stylised and frequently seem quite [[mannerist]]. Details and ornamentation played an important role, the best works resemble examples from the fifth century BC. White, yellow and red were often used as additional colours. The casual painting of the backs of vases is another typical feature.
+{{multiple image
-[[Image:Maenads Eros Louvre M70.jpg|thumb|left|180px|[[Dionysos]] (here unseen), [[maenad]]s and [[Eros]], ''[[hydria]]'' by the Louvre CA 928 Group, ''ca.'' 375 BC, Louvre.]]
+| image1 = Maenads Eros Louvre M70.jpg|width1=219
-[[Image:Arimaspos griffin woman Louvre M74.jpg|thumb|''[[Hydria]]'' by an unknown painter, a woman and [[Arimaspos]] riding a [[Griffin|gryphon]], ''circa'' 370/50 BC. [[Paris]], [[Louvre]].]]
+| caption1 = [[Dionysos]] (here unseen), [[maenad]]s and [[Eros]], ''[[hydria]]'' by the Louvre CA 928 Group, ''ca.'' 375 BC, Louvre.
+| image2 = Arimaspos griffin woman Louvre M74.jpg|width2=213
-The [[Marsyas Painter]], the [[Eleusinian Painter]] and the [[Painter of Athens 12592]] mark a short and final flourish in the quality of Attic vase painting. Shortly afterwards, the activities of the [[YZ Group]] painters produced a multitude of vases of inferior quality in a number of workshops. Their end is also that of the Attic red-figure tradition. Recent research has thrown new light on this long-neglected field. The vases were first studied systematically by [[Karl Schefold]]. The most important scholar of Attic vase painting, [[John Beazley|John D. Beazley]], only developed an interest in them late in his career; he did not agree with all of Schefold's views. In recent years, the analysis of fourth-century BC [[Panathenaic Amphorae|Panathenaic amphorae]] from [[Eretria]] has provided new results. Additionally, it has been demonstrated that Kerch style vases were also produced outside Attica, for example in [[Chalkidiki]]. Generally, the [[South Italian]] red-figure vase production of the time was superior to the Attic Kerch Style. The South Italian production also continued somewhat longer.
+| caption2 = ''[[Hydria]]'' by an unknown painter, a woman and [[Arimaspos]] riding a [[Griffin|gryphon]], ''circa'' 370/50 BC. [[Paris]], [[Louvre]].
+}}
+The [[Marsyas Painter]], the [[Eleusinian Painter]] and the [[Painter of Athens 12592]] mark a short and final flourish in the quality of Attic vase painting. Shortly afterwards, the activities of the [[YZ Group]] painters produced a multitude of vases of inferior quality in a number of workshops. Their end is also that of the Attic red-figure tradition. Recent research has thrown new light on this long-neglected field. The vases were first studied systematically by [[Karl Schefold]]. The most important scholar of Attic vase painting, [[John Beazley|John D. Beazley]], only developed an interest in them late in his career; he did not agree with all of Schefold's views. In recent years, the analysis of fourth-century BC [[Panathenaic Amphorae|Panathenaic amphorae]] from [[Eretria]] has provided new results. Additionally, it has been demonstrated that Kerch style vases were also produced outside Attica, for example in [[Chalkidiki]]. Generally, the [[South Italian]] red-figure vase production of the time was superior to the Attic Kerch Style. The South Italian production also continued somewhat longer.
 Representatives of the style include:
@@ Line 30: / Line 37: @@
 * [[Pourtales Painter]]
 * [[Toya-Painter]]
-* [[Painter of the Wedding Procession]]
+* {{illm|Painter of the Wedding Procession|de|Maler des Hochzeitszugs}}
 == Bibliography ==
 * [[John Beazley|John D. Beazley]]: ''Attic red-figure vase-painters''. Oxford 1963.
-* [[John Boardman]]: ''Rotfigurige Vasen aus Athen. Die klassische Zeit'', von Zabern, Mainz 1991 (Kulturgeschichte der Antiken Welt, Vol 48), especially p.&nbsp;198-203 ISBN 3-8053-1262-8.
+* [[John Boardman (art historian)|John Boardman]]: ''Rotfigurige Vasen aus Athen. Die klassische Zeit'', von Zabern, Mainz 1991 (Kulturgeschichte der Antiken Welt, Vol 48), especially p.&nbsp;198-203 {{ISBN|3-8053-1262-8}}.
 * Stella Drougou: ''Kertscher Vasen'', in ''[[Pauly-Wissowa|DNP]] 6 (1999), col. 447f.
 == External links ==
-{{commonscat|Kerch style}}
+{{Commons category|Kerch style}}
-*[http://www.hermitagemuseum.org/html_En/04/2006/hm4_2_181_0.html Lebes gamikos at the [[Eremitage]]]
+*[https://web.archive.org/web/20070311233229/http://www.hermitagemuseum.org/html_En/04/2006/hm4_2_181_0.html Lebes gamikos] at the [[Hermitage Museum]]
-==Source of Translation==
-{{Translation/Ref|de|Kertschern Vasen|oldid=37595318}}
-{{Greek Vases}}
+{{Greek vase painting}}
+{{Greek vase painters}}
+{{Authority control}}
 [[Category:Ancient Greek vase-painting styles]]