Αττικά ερυθρόμορφα αγγεία του 4ου π.Χ. αι.

Προβολή/ Άνοιγμα
Συγγραφέας
Γιούρη, ΕυγενίαΗμερομηνία
1966Γλώσσα
el
Εκδότης
Υπηρεσία Αρχαιοτήτων και Αναστηλώσεως
Λέξη-κλειδί
Βιβλιογραφικά στοιχεία
Αρχαιολογικόν Δελτίον, 1965, Τόμος 20, Μελέται/Μέρος Α', 153-170.
Πρόσβαση
ελεύθερη
Τίτλος περιοδικού
Αρχαιολογικόν Δελτίον
Επιτομή
In this article are presented seventeen vases of the collection of Gr. Empedokles,
which was bequeathed to the National Museum of Athens.
These vases belong to the 4th century B. C. and represent all the characteristic
styles of the century.
The Nuptial Lebes N.M. 19429 (fragment) was decorated by a follower of
the Midias Painter at the end of the first quarter of the 4th century. The
dating is based on the similarity of the Nike’s face to the seated God’s of the
Decret relief of the 378 /7 ( ΕΠ 7859, Speier, R.M., 1932, p. 55, pi. 19, 2 ). The
Pelike N.M. 18747 was decorated, probably, by the Iena Painter in the beginning
of the second quarter of the 4th century. A. Dionysos and Satyr. B. Two youths.
The Lekanis N.M. 19427 (fragment) is closely related to the Lekanis
Leningrad C. R. 1881, pi. 3. Their style and theme are the same and that is the
reason we call the artist «the Lenigrand Painter». He decorated both Lekanides
in the beginning of the second quarter of the 4th century and is a fellower
of Dinos Painter.
The base of the Nuptial Lebes N.M. 19462 is the last good specimen of
the calligraphy of the first half of the 4th c. A. Maid in peplos holding two boxes.
B. Two young women in himation. About 340 B.C.
The artist of calyx - krater N.M. 19463 closely follows the technique of
the Erotostasia painter. A. Dionysiac scene. B. Three youths. 340 - 330 B.C.
The painter of the Nuptial Lebes N.M. 19440 (fragment) follows the Apollonia
Group, but his style is much better. A young woman between two Erotes.
About 330 B.C.
The Pelike N.M. 18748 represents the last phase of the attic red-figure vase -
painting. A. Amazon and a horse. B. Two youths.
A list of the ornaments of L.C. Kraters follows and a chapter about the
decoration of the small size pelike.
In another chapter is discussed the problem which set the representations
of vases like Pelike N.M. 18748. In the last chapter the author tries to attempt
a chronological and stylistic position of these vases in the vase - painting of the
4th c. B.C.