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[German version] Attic red-figured vase painter, active around 500-475 BC, named after a double kalos inscription for Antiphon on a ( dinos) stand in Berlin (SM, Inv. no. F 2325). Integrated into the largest bowl workshop of the 5th cent. BC, the Antiphon painter (AP) works closely together with his teacher  Onesimus, with the slightly older Colmar Painter and others. The almost 100 drinking vessels, attributed to him, almost exclusively praise the world of the aristocratic youth of Athens: as athletes, at the sympo…

[German version] Attic red-figured vase painter, active around 470-450 BC. About 200 vases have been attributed to him, mostly cups of various types, skyphoi and kantharoi (Pottery, shapes and types of, figs. D 8 and 5). He carried on the workshop of Onesimus [2], Antiphon and the Pistoxenus Painter with a new potter who, unlike his predecessors, did not sign his works. The PP made use of the potential of the drinking cup in every conceivable way, both in regard to its size and to the composition …

[German version] Attic red-figured vase painter, active c. 460-450 BC. The name SP refers primarily to the Sotades who signed as the potter. With his creations he towered over the figure painter, whether or not they are identical; he was Athens's most original potter. His repertory, which survives in limited numbers, includes bowls, often decorated with stamping on the inside (Stamped ware), cups, which are painted - some coral red - extremely delicately on a white ground, rhyta in the shape of heads of animals and people and even figural forms such as a horseman or a ca…

[German version] Painter of Attic red-figured vases, active c. 420-405 BC, named after the potter of the great kalpis ( pottery, shapes and types of) in London, BM (E 224). Only three dozen vases and fragments of the most diverse form are ascribed to him; nevertheless he is the most influential exponent of the ‘Rich Style’. His vase pictures abound in figures wrapped in richly embroidered clothes, whose jewellery - in relief and gilded - gracefully contrasts with the fineness of the relief lines. None of his cont…

[German version] (Συρίσκος; Syrískos). Attic Red Figure vase painter, active c. 480-460 BC. Since the recognition of S.'s painter inscription on a calyx crater in Malibu (GM 92.AE.6) the nickname 'Copenhagen Painter' has fallen out of use. Since S. also signed as the potter on an astragalos (Rome, VG 866) painted by a closely related younger S. Painter. Dividing lines between can not always be clearly drawn, and this is made even more difficult by there being signatures of both Pistoxenus Painter and S. on the same vase (Mulgrave Castle). O…

[German version] Attic red-figured vase painter, active around 440-415 BC; named after an   epínētron from Eretria, today in Athens (NM). More than half of his numerous surviving works are decorations on drinking bowls which he produced together with three other painters at the same time as the pre-eminent Penthesilea workshop. While his pictures of athletes and youths tend to be of the conventional type, the pictures of horsemen, Amazons and satyrs are pointing beyond the stereotypes of the age. Once, the Eretria Painter (EP) gives figures of a thiasos the names of islands, probabl…

[German version] Attic Red Figure vase painter, active c. 490-470 BC. He painted extremely varied shapes of pot. He began, beside Duris [2], in the workshop of Euphronius [2]. Later he worked with Brygus (Brygus Painter) and Hieron, as well as with Python (Potters), Duris' bowl-potter. On a rhyton he worked with the potter Charinus (Richmond, Virginia Mus.) [1]. His stylistic development underwent an archaizing phase and ended in second-rate bowl pictures. His pictorial language is rich: in his Apatouria…

[German version] Attic red-figured vase painter, active around 485-465 BC. As a junior member of the Brygus-workshop ( Brygus painter) the Dokimasia Painter (DP) represents the ‘milder’ side of this cup-tradition. He is named after a cup-painting (Berlin) that shows ephebes at the inspection ( dokimasía) of their horses through the polis. Other paintings show contests of arms, school education, the pleasures of the symposium and the komos; mythical subjects include the deeds of Theseus and Odysseus. Late in his life the DP preferred the s…

[German version] Attic red-figure vase painter c. 440-410 BC, named after a former owner of one of his pots in Saint Petersburg. The SP worked as a figure painter in a specialised ceramic workshop, which mostly produced jugs of various types, neck amphorae and hydriai (Pottery, shapes and types of A3, B4-8, B11), the majority of which were exported to the western Mediterranean. The SP adopted this market orientation from the Mannheim Painter, the founder of the workshop, and also followed him in certa…

[German version] Attic red-figured vase painter, active around 440-420 BC. A bowl painter who maintained the workshop of Hieron and  Macron in the third generation. Whether he was a potter himself is not clear, but he certainly did the decoration himself. At times, the  Phiale Painter would sit next to him. His most important student was  Aeson [2], the last to run the workshop. In 425, as one of the first, the Codrus Painter (CP) reintroduced older means of style (Paris, LV G 458) and thus develo…

(Ὀνήσιμος; Onḗsimos) [German version] [1] Gem cutter see Syries; Gem-cutting Lezzi-Hafter, Adrienne (Kilchberg) [German version] [2] Attic red-figured vase painter, c. 500 BC Attic red-figured vase painter, worked in around 505-485 BC, probably one of the most talented vase painters. His signature, the 'useful one', is found on one of about 150 extant cups (Paris, LV G 105). This does not give us an indication of his art; however, it reveals twice-over his close association with his drawing teacher and potter of his c…

[German version] Athenian Red Figure vase painter, working c. 435-410 BC. In ever decreasing scale and in various workshops, he painted lebetes, loutrophoroi, hydriai and pelikai (Pottery, shapes and types of) of which many examples survive; in the end he remained unique. In his paintings, he disclosed the world of women: brides, deep in wistful playing of the harp or occupied with self-adornment, who would later go “cheìr epì karpôi” ["hand upon the wrist"] heading for their new homes (Gestures [III F]). In addition, he portrays hetaerae practicing dances, spen…

[German version] Attic vase painter, working around 495 to 475 BC. This cofounder of one of Athens' important bowl workshops was associated with  Euphronius, and left behind a large number of disciples, painting in a variety of styles ( Foundry Painter,  Dokimasia Painter). In addition to approximately 200 bowls, he also painted other forms of vases for the symposium, most prominent amongst them scyphi, rhyta, and canthari ( Pottery, shapes and types of). They are full to bursting with human figur…

(Αἴσων; Aísōn). [German version] [1] Figure from Greek mythology, eponym of the city of Aeson Son of Cretheus and Tyro (Scarphes: schol. D Hom. Il. 532), husband of Polymelas or Alcimedes, father of Jason (Hom. Od. 11,258; Hes. Theog. 992; fr. 38-40 M-W; Pherecyd. FGrH F 104; Apollod. 1,107) and of Promachus (Apollod. 1, 143; Diod. Sic. 4,50,2). Eponym of the city of Aeson (Pherecyd. FGrH F 103; Pind. fr. 273; Apoll. Rhod. 1,411 with schol.), lives, however, always in Iolcus, whose legitimate ruler is his olde…

[German version] (Μάκρων; Mákrōn). Attic red-figure vase painter, active around 490-470 BC. With the probably slightly older potter Hieron he founded one of the four great potteries of the 5th cent. ( Codrus Painter). The overwhelming proportion of the at least 600 extant vases are kylikes ( Vessels) and are often signed by the potter on the inside of the handle, an unusual place. Reliably M.'s signature is only known from the skyphos in Boston, MFA 13.186. Mostly only developed images bear caption…

[German version] Attic red-figured vase painter working around 490-475 BC. Named after the external images on a bowl in Berlin, the foundry painter is the most independent of the ‘ancillary painters’ of the Brygos workshop. His work is primarily to be found on bowls that seldom, but then tersely, take up mythical themes (battles of the Centaurs, Theseus leaving Ariadne); the foundry painter prefers symposium and cosmos images that are full of sharply observed details. Lezzi-Hafter, Adrienne (Kilchberg) Bibliography Beazley, ARV2, 400-404 Id., Paralipomena 369-371 Id., Addenda2, 2…

[English version] Att. rf. Vasenmaler, um 500-475 v. Chr. tätig, benannt nach einer doppelten Kalos-Inschrift für Antiphon auf einem (Dinos-)Ständer in Berlin (SM, Inv. Nr. F 2325). In die größte Schalenwerkstatt des 5. Jh. v. Chr. eingebettet, arbeitet der A. eng mit seinem Lehrer Onesimos, dem etwas älteren Kolmarer Maler und anderen zusammen. An die 100 zugewiesene Trinkgefässe preisen fast ausschliesslich die Welt der aristokratischen Jugend Athens: als Athleten, beim Symposion, als Komasten, …

[English version] Att. rf. Vasenmaler, um 435-410 v.Chr. tätig. Seine in großer Zahl erh. Lebetes, Lutrophoren, Hydrien und Peliken (Gefäßformen) hat er, in immer kleiner werdendem Format, in verschiedenen Werkstätten bemalt; letztlich blieb er ein Einzelgänger. In seinen Bildern breitet er die Welt der Frauen aus: Bräute, in wehmütiges Harfespiel vertieft oder mit dem Sich-Schmücken beschäftigt, die später cheír epí karpṓ (‘die Hand des Bräutigams über dem Handgelenk der Braut’) ihrem neuen Heim entgegen gehen (Gebärden III. F). In Ergänzung dazu zeigt …

[English version] (Μάκρων). Att. rf. Vasenmaler, um 490-470 v.Chr. tätig. Er gründete zusammen mit dem wohl etwas älteren Töpfer Hieron eine der vier großen Schalenwerkstätten des 5. Jh. (Kodros-Maler). Den überwiegenden Teil der gut 600 erh. Vasen bilden Kylikes (Gefäße), die oft vom Töpfer auf der Henkelinnenseite, einem ungewohnten Ort, signiert sind, während man M.s sichere Signatur nur vom Skyphos in Boston, MFA 13.186, her kennt. Meist tragen nur die ausgearbeiteten Bilder Beischriften; daru…

[English version] Attischer rf. Vasenmaler, um 490-475 v.Chr. tätig. Benannt nach den Außenbildern einer Schale in Berlin, ist der E.-M. der eigenständigste unter den “Nebenmalern” der Brygos-Werkstatt. Sein Werk findet sich überwiegend auf Schalen, die selten, dann aber prägnant mythische Themen aufgreifen (Kentaurenkämpfe, Theseus verläßt Ariadne); der E.-M. zieht Symposion- und Komosbilder vor, die voller scharf beobachteter Details sind. Lezzi-Hafter, Adrienne (Kilchberg) Bibliography Beazley, ARV2, 400-404 Ders., Paralipomena 369-371 Ders., Addenda2, 230-231 D.…