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Terracotta volute-krater (vase for mixing wine and water)

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Terracotta volute-krater (vase for mixing wine and water)

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Terracotta volute-krater (vase for mixing wine and water)
Baltimore diverse
Image by peterjr1961
Terracotta volute-krater (vase for mixing wine and water)
Red-figure, Greek, South Italian, Apulian, Hellenistic, ca. 320–310 B.C.
Attributed to the Capodimonte Painter

On the body, obverse, assembly of gods above Amazonomachy
Reverse, youth in naiskos (shrine) between youths and women
On the neck, obverse, woman with torches leading Nike in chariot
On the handles, heads of Io and young Pans

The Capodimonte Painter was a follower of the Baltimore Painter, one of the most prolific late Apulian artists. Although they produced vases of diverse shapes and sizes, these artists are associated most often with large works virtually the whole surface of which is decorated. The vase becomes a kind of compendium of iconography and patternwork. It is important to recall that antiquarians of the eighteenth century first encountered Greek vasepainting in examples such as this one, discovered in 1786 and acquired by the king of Naples for his palace at Capodimonte. Although imperfectly understood, the vases were recognized as ancient and impressive; they quickly became objects of study and acquisition.

Terracotta volute-krater (vase for mixing wine and water)
Baltimore diverse
Image by peterjr1961
Terracotta volute-krater (vase for mixing wine and water)
Red-figure, Greek, South Italian, Apulian, Hellenistic, ca. 320–310 B.C.
Attributed to the Capodimonte Painter

On the body, obverse, assembly of gods above Amazonomachy
Reverse, youth in naiskos (shrine) between youths and women
On the neck, obverse, woman with torches leading Nike in chariot
On the handles, heads of Io and young Pans

The Capodimonte Painter was a follower of the Baltimore Painter, one of the most prolific late Apulian artists. Although they produced vases of diverse shapes and sizes, these artists are associated most often with large works virtually the whole surface of which is decorated. The vase becomes a kind of compendium of iconography and patternwork. It is important to recall that antiquarians of the eighteenth century first encountered Greek vasepainting in examples such as this one, discovered in 1786 and acquired by the king of Naples for his palace at Capodimonte. Although imperfectly understood, the vases were recognized as ancient and impressive; they quickly became objects of study and acquisition.

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