Red Figure Painting

1. Red Figure Painting Read pages 36-38 in White text • What are the most significant differences between red and black figure painting? • What was the chief innovation? How was it used? • What other innovations were there? • What was most likely the inspiration for red figure painting?

2. The Andokides Painter Read page 38 in white text • Why do experts think Andokides invented red figure? How did he ‘experiment’? • What evidence is there that he was pupil of Exekias? • What innovations are evident in his vases?

3. The Andokides Painter • Worked c.530-515 BC • First known practitioner of the Red-Figure technique, though his early works are Black-Figure • Named after the four vases he decorated which were signed by Andokides

5. Andokides must have been a pupil of Exekias – similar style and similar scenes on their vases • same degree of skill and delicacy • both use Ajax and Achilles scene • same extravagant ornamented drapery • same level of detail on faces • both use layered black slip to simulate depth and texture on, eg, human hair

6. At least 14 amphorae and cups have been attributed to him • He is most famous for “Bi-lingual” vases – black fig on one side and red fig on other (often same scene) • Andokides tried to break away from the limitations of the technique of incising through black to create lines – obviously enjoyed freedom of using a brush • Added lots of purple to accentuate designs, and also used it as a wash to change the base colour of the vase • Nevertheless, his figures are still rigid in pose and lack movement – shows his background in Black-Figure painting

8. The Pioneers “The Pioneers” were a group of early Red-Figure decorators, clearly marked out from their predecessors. Their earliest work comes only about a decade after the invention of the Red-Figure technique. The Pioneers seized upon the early elements of the new technique and refined it in detail and composition, to achieve a supreme quality of mood and narrative. They painted cups and plates, but preferred big vases – all varieties of kraters in particular.

9. The Pioneers’ Innovations They experimented with several new ways of decorating their vases. There was a greater attempt to show emotional realism in their decorations. • Pain, anguish and despair were now more clearly visible. • Muscles are more realistic – they are clearly shown, they are rounded, and they bulge realistically with the stress and strain of the action • New ways of depicting figures – foreshortening, torsion

10. EuphroniosCalyx Krater510-500 B.C White text: p.39-41 Black text: p.39-41

11. Shape: Calyx Krater • Function: mixing wine and water • Painter: Euphronios • Potter: unknown • Technique: Red figure • Date: 510-500 B.C

12. Dimensions Diameter of neck: 55cm Height: 46cm

13. Inscriptions • Euphronios signed his own name as painter • All figures are also named. Names are added in purple glaze

14. Decoration Overview • Red-Figure technique • Top band motif; palmette band • Lower band motif; in line with the handles - mirrored lotus and palmettes • Motifs on foot; stylised rays • Centre band; friezes on either side

15. Side AHerakles wrestles Antaios

16. The Myth • Herakles was the son of the god Zeus and Alcmene of Thebes. Zeus took the form of Amphitryon, her husband. Hermes held back the sun-god so Zeus spent the length of three normal nights with her. Amphitryon tried to burn Alcmene to death for her sin, but Zeus sent a storm to put out the fire. He told Amphitryon to care for his son and ensure that he received a good education in warfare, archery and similar essential training. • Hera, the jealous wife of Zeus, was determined to kill her unfaithful husband’s offspring, and shortly after Herakles’ birth she sent two great serpents to destroy him. Herakles, although still a baby, strangled the snakes. • As a young man Herakles killed a lion with his bare hands. As a trophy of his adventure, he wore the skin of the lion as a cloak and its head as a helmet. The hero next conquered a tribe that had been exacting tribute from Thebes. As a reward, he was given the hand of the Theban princess Megara, by whom he had three children.

17. Hera, still relentless in her hatred of Herakles, sent a fit of madness upon him during which he killed his wife and children. In horror and remorse at his deed Herakles would have slain himself, but he was told by the oracle at Delphi that he should purge himself by becoming the servant of his cousin Eurystheus, King of Mycenae. Eurystheus, urged on by Hera, devised as a penance the 12 difficult tasks, the “Labours of Herakles.” Zeus promised that when he had completed these 12 tasks he would be rewarded with immortality.

18. The 11th of the 12 Labours involved gathering the apples from the golden apple tree given by Mother Earth to Hera as a wedding gift. Herakles asked Atlas to fetch the apples for him, and offered to hold up the heavens for him. Atlas liked his freedom and suggested he would deliver the apples himself. Herakles agreed, but asked Atlas to take back the heavens while he adjusted his lionskin shoulder pad. Atlas did so, and Herakles picked up the apples and left.

19. On his way home, Herakles crossed Libya, where he met Antaios, the giant. Antaios killed strangers by wrestling them to death. • He was the son of Mother Earth and grew stronger whenever he touched his mother. • The only way to kill him was to lift him off the ground and kill him in mid-air. • Herakles lifted him up and squeezed him to death.

21. See p.40 in Black text for wider view A female supporter of Herakles watches the fight Two female supporters of Antaios also watch Herakles’ gear, including bow and arrow, and the trademark club and lionskin cloak

22. Herakles Painted in full profile. Down on his right knee, with the left outstretched behind, Herakles is driving forward – a very strong position. He holds Antaios in a vice-like grip around the neck. His whole body shows the strain of the fight: his calves, his thighs and his torso are all tense. His face, however, shows no strain. He is working hard, but in control.

23. Antaios Shown in frontal view – Antaios is on his side. Antaios’ legs are useless: Herakles’ grip on his neck means Antaios cannot turn to get a stronger position. His right arm lies useless on the ground and he tries to loosen Herakles’ grip with his left hand. His neck is twisted and he cannot see. His mouth is open and his teeth are bared in a grimace of pain, and his bushy eyebrows show a frown.

24. Herakles and Antaios • Euphronios is clearly trying to emphasise the barbarian nature of Herakles’ opponent: • His supporters do not wear hairnets. Instead they both have one hand on their heads, as if they are tearing at their own hair. • Antaios’ hair is unkempt and shaggy, as is his beard. • Even his eyebrows are wilder than Herakles’ – though perhaps this exaggerates his frown of pain • Greeks saw themselves as civilised, and Euphronios reflects this: • Herakles’ supporter has her hair neatly wrapped in a hairnet (sakkos) • Herakles’ hair is neatly curled (extra glaze has been used to create impression of texture) • His beard is neatly clipped Euphronios contrasts the two wrestlers in the way he depicts them.

25. The composition is framed above by a palmette band, and below by a lotus and palmette band. Composition BALANCED SYMMETRICAL On either side of the W-shape, Exekias places vertical figures to maintain symmetry. The two central figures, locked together, frozen, mid-fight, form an inverted-V These two figures form the outer, vertical lines in the W-shape

26. Painting Technique Red-Figure decoration: - background painted with black slip - figures left red - detail then painted/syringed on in dilute slip

27. Darker slip colour used to show detail Red vase colour left to show through More dilute slip colour used to show finer muscle detail Background painted with black slip This technique allows Euphronios more flexibility and makes his painting more realistic. His poses and the detail shown in his musculature suggest he spent time observing real wrestlers.

28. This vase by Euphronios is the first one to show an attempt at showing 3 dimensions. Innovations CRUCIAL POINT: IT IS THE FLEXIBILITY OF THIS NEW TECHNIQUE WHICH ALLOWS EUPHRONIOS TO MAKE THESE INNOVATIONS. DRAPERY Euphronios uses dilute slip to show intricate folds in the drapery of the figures he paints. These folds suggest the light fabric of the chitons, and bodies moving underneath. The decoration is still two-dimensional, but Euphronios is experimenting with the third dimension. FORESHORTENING - Euphronios foreshortens the giant’s right leg, as it bends underneath him. This distortion of the shape is an attempt to show perspective, and is the first known true attempt at the technique. SEE PAGE 40-41 (BLACK)