Kleophrades: pupil of Euthymides

Vase 1 Pointed

Amphora: Dionysus and

followers

Vase 2 Hydria; Fall of Troy

Kleophrades: Pointed Amphora

• Technique: Red figure• Shape: Pointed Amphora• Painter:Attributed to the

Kleophrades painter• Potter: Kleophrades• Date:ca. 500 B.C. - 490 B.C.• Dimensions:Height. 56cm• Subject:• Body; Dionysus with maenads

and silens.• Neck; Athletes exercising

Composition Pointed Amphora

• Body: a continuous frieze around the entire vessel.

• All figures on the same plane, little over lapping of figures wider spacing compared to Makron.

• On neck frieze interrupted by handles

Subject: Body center of Side A

• Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him,

• and in his right hand a kantharos. • He is wearing a long, transparent chiton through

which his legs are visible, a mantle around his chest, and a panther skin knotted around his neck, and is crowned with an ivy wreath.

• He strides to the right, looking behind him and down towards the maenad behind him.

Subject: Dionysus center of Side A

• Dionysos moves to the right, holding in his left hand a vine branch, whose tendrils curl around him.

• Dionysos moves to the right, holding in his right hand, a kantharos.

Subject: Dionysus center of Side A

Subject: Dionysus center of Side A

• A panther skin knotted around his neck, and is crowned with an ivy wreath.

Subject: Body center of Side A• He is wearing a long,

transparent chiton through which his legs are visible, a mantle around his chest,

Subject: Dionysus center of Side A

• He strides to the right, looking behind him and down towards the maenad behind him.

Subject: Body

• Two Maenads on either side of the god are being attacked by Silenoi.

• Right Maenad fends Silenoi off with her thyrsos.

• Left Maenad holds a snake.

Subject: Body, maenad to the left of Dionysos

• She runs to the right towards Dionysos, looking back over her shoulder at the silen.

• She holds a thyrsos in her right hand, and a bearded snake entwined around her left hand.

• She wears a long transparent chiton, long mantles whose ends dangle almost to the ground; on her heads a bonnet t,his one wears a fawn skin in addition.

• The silen is bent forward slightly, as if ducking under the handle of the vase, and grabs her thyrsos with his right hand while reaching for the hem of her chiton with his left.

Subject: Maenad to the right of Dionysos

• She runs to the left, towards the god, looking over her shoulder and warding off the silen with her hand and thyrsos. Both these maenads wear long mantles whose ends dangle almost to the ground.

• The silen reaches for her hair with his left hand and for the hem of her chiton with his left, and raises his left leg.

Subject: Body

• The silens are nude except for fawn skins and ivy wreaths; they have horse ears and tails, beards and snub noses, and are ithyphallic.

Subject: Body

Subject: Body

Subject: Orgasmic Maenads & Musican Satyr

• On the other side of the amphora are two ecstatic maenads and a frontal silen playing an aulos. The maenads flank and turn away from the satyr at the center of the scene, running towards Dionysos on the other side of the vase.

Subject: Frontal Silenoi

Subject: Left Ecstatic Maenad

Subject: Right

Ecstatic Maenad

The right maenad

• She gazes slightly upward as she runs. She carries her thyrsos on her shoulder, and a bearded snake with open mouth is entwined around her left arm.

The right maenad

• She is wreathed with ivy and her blond hair is disheveled, painted in dilute glaze; her eyes are light-colored, like Dionysos'.

The right maenad

• She wears the same long transparent chiton and mantle as the other maenads, and also a fawn skin.

Orgasmic Maenad left

• This maenad seems more intoxicated: turning her face to the sky she cries out with her mouth open, clutches her thyrsos with both hands.

• Her curly black hair is in small ringlets.

Orgasmic Maenad left

• Her right foot breaks the frame of the scene, her toes over the maeander border.

Musical Silen

• Between the two maenads, the frontal silen plays the double aulos. He bends slightly to the right, and is cross-eyed and his brow furrowed, and a fawn skin is draped over his shoulders.

Use of colour• Purple and

dilute glaze are used to great effect, with golden dilute glaze used for fawn and animal skins, Dionysos' kantharos, and the snakes held by the maenads.

Subject Neck

• On the neck, on either side are three athletes practicing the diskos and throwing spear. The athletes are nude and wear fillets in their hair. In the background on either side are picks for loosening the earth for the long jump; on side B are an aryballos and sponge for cleaning up after exercising.

Side A Neck

Side B Neck

Inscriptions:

• KALOS, "(he is) beautiful" twice, near the silens.

Kleophrades hydria

• Technique: RED-FIGURE

• Shape: HYDRIA• Attributed to

KLEOPHRADES • Dates 490 – 480• Height 45cm• Decorated Area:• Shoulder• Subject: Fall of troy

Trojan War; Homer’s Illiad

• Subjects from the Trojan War are a favorite topic of the Kleophrades Painter, perhaps spurred by the tragedies of Aeschylus

In the center

• Neoptolemos is killing Priam, who sits on the altar holding his bleeding head, his dead grandson Astyanax in his lap. Trojan women and warriors cower and fall on either side.

The murder of Priam

Pathetic palm

• The naked Cassandra is pulled from the statue of Athena by the lesser Ajax, who does not notice Aeneas escaping with his father Anchises.

• Illustration 123 The naked Cassandra is pulled from the statue of Athena by the lesser Ajax, who does not notice Aeneas escaping with his father Anchises.

• On the opposite side, the sons of Theseus rescue their grandmother Aithra, and a Trojan woman attacks a Greek with a corn-pounder.

Rescuse of Aithra

Corn Pounder

Composition Murder of Priam

Composition Ajax & Cassandra

Composition Rescuse of Aithra

Foreshortening of foot

Composition

• The composition is sweeping and complex, with even the subsidiary ornament — running spirals above, slanted palmettes below — contributing to the sense of rolling destruction. The air of grief and pathos are a departure for the painter and indeed for Attic vase-painting up to this time; in this sense, this vase is a harbinger of the Early Classical style.

Trojan war illustrated companion

• http://www.philipresheph.com/demodokos/index.htm

General information about Kleophrates Painter

Style

• He was a painter of power, whose vital, robust figures, whether naked, armored, or swathed in luxurious drapery, are imbued with intelligence and will.

Secondary opinions on the Kleophrades Painter

• Beazley called the Kleophrades Painter the greatest pot-painter of the Late Archaic period, giving him precedence over his contemporary, the Berlin Painter, an artist whose best works are among the masterpieces of Attic vase-painting.

• His career lasted over thirty years, ending in the late 470s

• Michael Padgett, The Kleophrades Painter

http://www.perseus.tufts.edu/cgi-bin/ptext?doc=1999.04.0013

Influences• In his earliest works, from the last decade of

the sixth century, the influence of Euthymides is strong, and there can be no doubt that the Kleophrades Painter trained under him in the Pioneer workshop, where he would also have been exposed to the works of Phintias and Euphronios.

• Euthymides, influence on the Kleophrades Painter is so great that Beazley originally attributed to Euthymides some works he later assigned to his pupil Kleophrades.

Style

• The firm lines and clear compositions of his paintings were founded on careful designs, worked out in extensive preliminary sketches.