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Greek Amphora Memory Urn

Greek Amphora Memory Urn. Ceramics II. Greek Pottery.

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Greek Amphora Memory Urn

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  1. Greek Amphora Memory Urn Ceramics II

  2. Greek Pottery • Painted vases were often made in specific shapes for specific daily uses—storing and transporting wine and foodstuffs (amphora), drawing water (hydria), drinking wine or water (kantharos or kylix), and so on—and for special, often ritual occasions, such as pouring libations (lekythos) or carrying water for the bridal bath (loutrophoros). Their pictorial decorations provide insights into many aspects of Athenian life, and complement the literary texts and inscriptions from the Archaic and, especially, Classical periods.

  3. Neck-amphora (jar), ca. 530 b.c.; Attic, black-figureAttributed to an artist near ExekiasGreekTerracottaH. 15 7/8 in. (40.3 cm)Gift of F. W. Rhinelander, 1898 (98.8.13)Obverse: Apollo between Hermes and goddessReverse: Memnon between his Ethiopian squires t Black Figure Pottery Between the beginning of the sixth and the end of the fourth centuries B.C., black- and red-figure techniques were used in Athens to decorate fine pottery while simpler, undecorated wares fulfilled everyday household purposes. With both techniques, the potter first shaped the vessel on a wheel. Most sizeable pots were made in sections; sometimes the neck and body were thrown separately, and the foot was often attached later. Once these sections had dried to a leather hardness, the potter assembled them and luted the joints with a slip (clay in a more liquid form). Lastly, he added the handles.

  4. The scenes on this jar show two great heroes of the Trojan War being lifted from the battlefield after their deaths. Sarpedon, a son of the god Zeus, will be carried to Lycia, his homeland in southern Asia Minor, and Memnon, to his kingdom in Ethiopia. Source: Neck-amphora (jar) [Greek, Attributed to the Diosphos Painter] (56.171.25) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art Neck-amphora (jar), ca. 500 b.c.; Attic, black-figureAttributed to the Diosphos PainterGreekTerracottaFletcher Fund, 1956 (56.171.25)Obverse: Thanatos (Death) and Hypnos (Sleep) with the body of SarpedonReverse: Eos (Dawn) with the body of her son, Memnon

  5. Black Figure Technique • In black-figure vase painting, figural and ornamental motifs were applied with a slip that turned black during firing, while the background was left the color of the clay. Vase painters articulated individual forms by incising the slip or by adding white and purple enhancements (mixtures of pigment and clay). In contrast, the decorative motifs on red-figure vases remained the color of the clay; the background, filled in with a slip, turned black. Figures could be articulated with glaze lines or dilute washes of glaze applied with a brush.

  6. This vase provides a rare example of the painting of marble sculpture—a common practice in antiquity. At work on a marble statue of Herakles, the artist is recognizable by his cap and garment, an exomis, which affords maximum coolness and freedom of movement. Two steps of the process of painting sculpture can be distinguished in this scene. First, the artist uses a spatula-like tool to cover the surface of the statue with a thick paste consisting of mineral-based pigments and wax, here contained in the small vessel held in his left hand. Second, he will carefully blend the colors with the rods being heated in a brazier. To the left of the statue, a young assistant tends the charcoal brazier on which the wax mixture and the tools are being warmed. To the left is a column, which indicates that the scene takes place inside a sanctuary. The god Herakles, who is invisible to the artisans, approaches from the right. Zeus and Nike are seated above. On the reverse of the krater, Athena, seated in the center, converses with one of the Dioskouroi, either Castor or Pollux.

  7. Red-figured Pottery Column-krater (bowl for mixing wine and water), Classical, ca. 430 b.c., red-figure Attributed to the Marlay Painter (Attic vase painter, active ca. 450-ca. 420 b.c.) Greek, Attic Terracotta H. 15 in. (38.1 cm); Diam. with handles 14 1/16 in. (35.8 cm) Rogers Fund, 1907 (07.286.65) Obverse: horseman; reverse: komasts (revelers)

  8. Red-Figure Technique • The red-figure technique was invented around 530 B.C., quite possibly by the potter Andokides and his workshop. It gradually replaced the black-figure technique as innovators recognized the possibilities that came with drawing forms, rather than laboriously delineating them with incisions. The use of a brush in red-figure technique was better suited to the naturalistic representation of anatomy, garments, and emotions. • The firing process of both red- and black-figure vessels consisted of three stages. During the first, oxidizing stage, air was allowed into the kiln, turning the whole vase the color of the clay. In the subsequent stage, green wood was introduced into the chamber and the oxygen supply was reduced, causing the object to turn black in the smoky environment. In the third stage, air was reintroduced into the kiln; the reserved portions turned back to orange while the glossed areas remained black.

  9. Bell-krater, ca. 440 b.c.; red-figure Attributed to the Painter of London E 497 Greek, Attic Terracotta H. 11 5/8 in. (29.49 cm) Fletcher Fund, 1924 (24.97.30) Obverse: Orpheus playing lyre for Thracian men Reverse: libation scene A scene from the myth of Orpheus is depicted on this bell-krater, a deep bowl with a wide mouth used for mixing wine. The mythical musician from Thrace, bedecked with a laurel wreath, sits on a rock and plays his lyre. He is completely engrossed in the sound of his music and oblivious to his listeners. Before him stands a Thracian man, who represents the crowd of Thracian men moved by Orpheus' music. He wears the typical regional costume—a cap with lappets, high-laced boots with flaps, a gaily decorated mantle fastened with lacings in front, and a short belted chiton. A Thracian woman approaches. She wears a sleeveless chiton, a fillet wound three times round her head, earrings, and a necklace. In her left hand, she holds a sickle.

  10. Student Examples

  11. Types of Greek Amphorae 1 2 3 4

  12. Vocabulary • Amphora-Storage container for liquids or dry goods. Typical forms include elongated neck, bulbous body, and two handles. • Urn-Storage container. Also used as a container for cremated ashes. In Roman times urns were placed at the head of a grave similar to tombstones today. • Black-figure pottery-A decorating technique where figures and motifs were painted with black slip and the background was left the color of the clay. • Red-figure pottery-A decorating technique that is the reverse of black-figure pottery. The background was painted with black slip while figures and motifs were painted with a brush rather than incising. • Sgraffito-A technique that deals with incising or scratching into slip painted pottery exposing the clay body underneath. • Motif-A unit of measure. A design or theme that is repeated.

  13. Procedures: 1. Make several sketches for possible shapes. Select best one and make a full size paper pattern (fold 12 x 18 paper - draw contour - cut out) 2.Make cardboard template from paper pattern. Tape a cardboard tab at bottom of template that will stop at edge of banding wheel. Wrap template in masking tape to make it water resistant. To shape vessel: 1. Cut slab circle for base (about 1/2" thick) - center on banding wheel. 2. Shape vessel with wide slabs. Roll out slab of clay about 1/2" thick - cut into 1 inch strips. taper ends to overlap. Score and slip. This method was quicker than rolling out coils. 3. Control shape using cardboard template. Scarp with metal scrapers to smooth surface. Smooth with sponges. 4. Plan decoration to enhance form (students chose from sgraffito, majolica, underglazes/glaze - making samples on test tiles) 5. Apply slip to leather hard vessel for sgraffito - carve decoration 6. Fire and glaze. Majolica was done with colors on white opaque glaze.

  14. Note: the example to the left shows shrinkage of vessel in leather hard stage. This photograph came from a high school art site.

  15. Greek Amphora Project Think about an “event” or “happening” in your life that you wish to illustrate on your Greek influenced pot. · Think about which Greek pot shapes could accommodate your design the best · Choose 3-4 of the many styles of Greek pots (from the handout) and make 3-4 thumbnail sketches. Due on 8/24. · After discussing your ideas for your pot with teacher then make a sketch of your image on the pot you’ll build in clay · The final sketch of the pot should fit on an 8-x11 piece of paper. Make sure the lines are clean, straight, and the pot is symmetrical. Sketches must include a design element or band just below the lip or above the foot of your vessel. Sketches are due on 8/25. · On the bottom right corner of your sketch write the Greek shape name of the pot. · Pot must be at least 10inches high with functional handles. · Begin to plan for construction!Project due 9/15.

  16. STUDENT SELF REFLECTION : Please answer the following questions by “reflecting” back to the process. Be descriptive and respond in full sentences. Please write neatly! 1. What are the qualities you like about your pot? Why? 2. What are the qualities that you don’t like about your pot 3. Compare your 2 drawings, how is your pot different from the original drawing plan? Describe. 4. Name all the techniques you used to create your pot (don’t forget handles!) 5. What were some of the obstacles you encountered during the construction of your pot? How did you resolve them? 6. Describe your experience using the sgraffito technique, what where the challenges, what did you do or not do to master the technique? Describe 7. Look at the Greek pot shape handout. Which shape does your pot most resemble? Or is it a combination of one or more shapes? Which characteristics does your pot have and from what Greek shape?

  17. GROUP CRITIQUE Greek Pot Group CritiqueGroup members_____________________ Period_____ • 1. As a group decide which pot meets the criteria of the specific category. • 2. For each category write the number of the pot on the short line provided. • 3. Describe in full sentences your reasons for choosing the pot you selected. Be descriptive in your reasons use specific art vocabulary. • Best Craftsmanship • Most symmetrical shape • Symmetrical handles (negative space) • Smoothest surface • Most resembles Greek Pot Shape • Best-constructed handle/s • Most functional • Most difficult to create • Has potential but needs

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