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An overview of the history and production of greek vases

Though the early molds were comparatively simple, they later became more complex, a tendency best seen in those molds used for the manufacture of pottery figures. The unglazed earthenware figures of… Greek pottery developed from a Mycenaean tradition, borrowing both pot forms and decoration. The earliest stylistic period is the Geometriclasting from about 1000 to 700 bce.

This period is further broken down into a Proto-Geometric transition from Mycenaean forms.

  • Proto-Corinthian aryballos with mouth in the form of a lion's head, c;
  • The female figure Aphrodite is depicted seated, wearing an himation;
  • The majority of Greek vases were for everyday use, especially plain ware, but also figured ones too, as nicks and scratches attest;
  • After the vase was made, decorated, fired and cooled, what happened next?
  • The term, as used here, refers to attributing unsigned vases to known painters, a skill achieved by recognizing the 'handwriting' so to speak, which includes not only the style of drawing, but also the choice of shape, ornament, compositions and subjects.

In this period the surface of the pot was completely covered with a network of fine patterns in which circles and arcs predominate. This abstract decorative vocabulary was later enriched by such devices as the meander key patternchecker, triangle, herringbone, and swastika. The succeeding true Geometric style is characterized by these forms and by the gradual appearance of animal and finally human figures.

Introduction to Greek pottery

These too were geometrized, being given angular silhouettes and arranged symmetrically, usually in strips around the pot.

Figures were invariably portrayed from the side, i. The pots made at this time were the earliest in Greek art to show narrative scenes from popular mythsparticularly those about Heracles.

Hirmer Fotoarchiv, Munich Greatly expanded Greek trading activities during the late 8th and early 7th centuries bce led to a growing Eastern influence on Greek pottery painters.

Pottery of ancient Greece

At this time Asian motifs found their way onto all makes of Greek pots. Curvilinear patterns, sometimes of wild exuberance, supplant the older, rectilinear ones. New subjects appear, especially such monsters as the sphinxsirengriffingorgonand chimaeraas well as such exotic animals as the lion. The Corinthian painters created a silhouette technique in which figures painted in the characteristic black glaze were incised with thin lines to show detail.

Proto-Corinthian aryballos with mouth in the form of a lion's head, c. The superior quality of their clay, pigment, and decoration quickly enabled the Athenian artists to overtake those of Corinth. From 600 bce on, Athens increasingly became the dominant centre for Greek pottery, eventually exporting its ware throughout the Mediterranean world.

It was during this period that the practice of signing of pots by potters and painters first became common. Athenian pottery of the 6th century bce often features narrative scenes composed of black figures painted on a light inset background panel, while the surrounding vase surface is a deep, lustrous black. The method by which this distinctive colour was achieved, involving a complicated three-stage process of firing, has been successfully analyzed and reproduced in the 20th century.

Achilles slaying PenthesileaAchilles slaying Penthesilea, the queen of the Amazons, Attic black-figure amphora signed by Exekias, c. Courtesy of the trustees of the British Museum Red-figure potteryinvented at Athens about 530 bce, is just the reverse of the black-figure style in that the reddish figures appear light against the black background of the pot surface. Details of the figures such as eyes and interior lines were painted on in black, the brush allowing more subtle characterization than did an incising tool.

Greek pottery

The red-figure technique allowed a more naturalistic and aesthetically appealing treatment of human figures. The red hues mimicked the colour and tone of sun-bronzed skin and dramatically spotlighted the figures against the dark background.

Around 500 bce Greek artists abandoned the convention of using only profile views and began to use three-quarter frontal poses, as well as foreshortenings and the carefully depicted overlapping of one figure on another. These advances ushered in the zenith of Greek pottery design and also give some idea of contemporaneous achievement in large-scale painting.

The drawing on Greek ware of this period is often of the highest quality, and the subject matter is an inexhaustible mine of information on Greek life and thought.

Greek artists sought to endow their figures with mood and character, as well as the capacity for action. Monotony was avoided by the use of different poses, gestures, and expressions to render emotion and clarify the narrative action.

The repertoire of subjects was greatly enlarged, using scenes from everyday life as well as the standard heroic and mythological themes. Because of the inherent limitations of the curving pot surface, pottery painters could no longer compete with the rapid strides toward naturalism taken by painters of larger works such as wall paintings. Various attempts to introduce spatial depth into their designs by the selective grouping of figures failed.

After 430 bce pottery painting was increasingly trivialized in conception and sentimental in emotional tone. Drawing became overrefined and careless, and groups of figures were crowded together without meaning or interest.

By the 4th century, the figured decoration of pottery had become a dying art, and it had disappeared from Athens by 320 bce. DionysusGreek krater depicting Dionysus with grapevine in a sailboat surrounded by dolphins, 530 bce.

For specific treatments of the major physical types of Greek pottery, see alabastron ; amphora ; hydria ; kantharos ; krater ; kylix ; lekythos ; oinochoe ; psykter. Learn More in these related Britannica articles: