Ancient Greek Pottery
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Ancient Greek Verses slideshow for Lincoln Middle School Art Docent Program
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Ancient Greek Pottery
- 3. Why is Greek pottery significant? Who made them? What stories did they tell about Ancient Greek life? What were these vessels used for? How were they made? What do we use pottery for today?
- 5. Greek pottery became a valuable tool to study Greek history as Greek paintings and structures did not survive as well as ancient Greek pottery. The paintings on Greek pottery have provided the majority of what we know about ancient Greek life and art. Significance
- 7. Black Figure White-ground Red figure Pottery Techniques
- 8. Black Figure
- 9. Red Figure
- 10. White Ground
- 11. Video Link Making Greek Vases
- 12. Design
- 13. Geometric Period (850-700 BC) Orientalizing phase Meander “Greek Key”
- 14. Orientalizing Phase (700-600 BC)
- 15. Archaic Period (650-480 BC)
- 16. Classic Period (700-600 BC)
- 17. Scenes & Stories
- 19. Vases were mostly functional, made to be used, not just admired. They were used in every aspect of daily life: for storage, carrying, mixing, serving, drinking and as cosmetic and perfume containers. The shape and size of the pot offered a common sense guide to its use, with the larger pots used to carry and store more common liquids needed in large quantities, and smaller vessels to hold rarer or more costly substances used in smaller quantities. Narrow necked pots held liquids to be poured in a slow stream, and wide neck for mixing and more rapid pouring. Also the décor on the pot often provided clues to it’s use. For example make up containers often had scenes or women holding mirrors.
- 20. Amphora
- 21. Krater
- 22. Oinochoe
- 23. Hydria
- 24. Kylix
- 25. Stamnos
- 26. Kantharos
- 27. Loutrophoros
- 28. Lekythos
- 29. Alabastron
- 30. Greek Columns
- 31. Doric
- 32. IONIC
- 33. Corinthian
- 34. Project
- 35. Draw figures and designs. Color in black marker. Accent with red.
- 36. Add column
- 39. ODE ON A GRECIAN URN By John Keats Thou still unravished bride of quietness, Thou foster child of silence and slow time, Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fringed legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loath? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy? Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endeared, Pipe to the spirit ditties of no tone. Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Bold Lover, never, never canst thou kiss, Though winning near the goal---yet, do not grieve; She cannot fade, though thou hast not thy bliss Forever wilt thou love, and she be fair! Ah, happy, happy boughs! that cannot shed Your leaves, nor ever bid the Spring adieu; And, happy melodist, unwearied, Forever piping songs forever new; A burning forehead, and a parching tongue. Who are these coming to the sacrifice? To what green altar, O mysterious priest, Lead'st thou that heifer lowing at the skies, And all her silken flanks with garlands dressed? What little town by river or sea shore, Or mountain-built with peaceful citadel, Is emptied of this folk, this pious morn? And, little town, thy streets for evermore Will silent be; and not a soul to tell Why thou art desolate, can e'er return. O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought As doth eternity. Cold Pastoral! When old age shall this generation waste, Thou shall remain, in midst of other woe Than ours, a friend to man, to whom thou say’’st, "Beauty is truth, truth beauty"---that is all Ye know on earth, and all ye need to know.
Editor's Notes
- (Read slide. Have the students start thinking about these questions and answer if they can.)
- Greek legend and mythology tell us clay held and important place in early Greek life. Greeks believe the goddess Athena was the inventor of many useful articles, including earthenware pots. Hence, Athena became the patroness of Greek potters. Scene: Athena and Heracles painted on a kylix (a drinking cup.) Red figure technique
- (Read slide)
- Potting and painting skills were handed down from father to son. Signatures on vases suggest that many potters and painters did not have high status, some may have even been slaves. The majority of pottery workers would have been paid no more than any other manual laborer. A good vase probably cost only a day’s wages. Painter and potter were usually separate specialists, although, lasting partnerships existed. Painters often worked in collective workshops, generally under the supervision of one ‘master’ potter, which suggests form was actually more important than decoration for the Greeks. Artists were driven by market demand for particular styles, subjects, and fashions with many potters and artists prolific in their output. In some cases over 200 vases may be attributed to a single artist. Many individual potters and less frequently, painters, have been identified with certainty through their signatures, but the majority of Greek vases are unsigned. However, more than 500 unsigned artists are distinguishable through their particular style. Some artists were in great demand with their goods sold not only locally but throughout the Mediterranean. Potters themselves sometimes relocated to other cities often taking with them their regional styles.
- Early Greeks recognizing clay’s special qualities. Clay was easy to get, inexpensive and could be formed and fired in many ways. The clay was high in iron, which turned red when fired. Pottery making was laborious, dirty work generally taking place outside city limits because of the space needed and thick smoke made by the kilns. Every community produced utilitarian pottery, with only a few main centers creating fine decorated pieces. Distinct regional styles of pottery emerged. There were three most common techniques of decoration on Athenian pots: Black-figure technique (black figures on an orangey-red background). Red- figure (orangey-red figures on a black background) the reverse of the black figure technique. White-ground (colored figures on a white background). (Point out differences between Black, red and white ground pottery techniques on slide)
- Black Figure pottery is one of the most recognizable Greek pottery designs that emerged bearing iconic representations of figures from Greek mythology. It was produced by painting images with a glossy clay slip onto unfired pottery. This slip would turn black when the pot was fired. The mainly black figures are more intricate than mere silhouettes, with facial features, clothing and weaponry depicted in reds and yellows. Zeus, Achilles, Athena and other gods and mythological figures adorn the pots from this period. Black-figure vase painting revolutionized the production of pottery, and allowed for experimentation with new artistic techniques. The disadvantage of the black-figure technique, however, is that the black figures looked like little more than silhouettes. In order to add surface detail onto them, artists would scrape the clay before firing to produce lines, thus creating details such as facial features, armor, and so on. Artists also added red and white paint after baking to produce such details and give the vases more color. Image: Panathenaic amphora by Euphiletos Painter . Scene: a foot race. ca. 520/530 B.C.
- 530 BC- Red figure begins as a new technique for vase painting in Athens. Red-figure painting was the inverse of black-figure painting: The slip was painted as a background, with the figures left as a negative. Red figure painters actually used a brush to paint, achieving more detail and different thickness to lines. Vases were more realistic, and only one main color was used. This is harder because the negative space is painted, but it makes the people look much more real. The slip and the firing are exactly the same as in black figure. Once the vessel was fired, the whole pot would turn black except for the figures, which turned red. The advantage of red-figure painting was that black details could be added to the red. Notice the black figures incised with details from before the firing of the clay, and then embellished with further details in red and white paint. Red-figure vase painting was invented in Athens, which remained the center of red-figure pottery, and no other polis could compete with its production. While black- figure vases continued to be produced, red-figure vases became the most common form of Greek vase painting and were extremely popular. Over 40,000 examples survive from Athens alone. Images: Top: Kylix. Red figure technique Left: Scene: Achilles Fighting Hector. Attriibuted to the Berlin Painter. Right: Volute Krater by Pronomos Painter (410-400) Scene: Greek theatre (chorus of a satyr play) - which is associated with Dionysis. Sacrid marriage - when divinity marries a mortal - between Dionysis and Ariadne. White paint is used for females and decorative designs
- Which technique? black figure, red figure or white ground? What do you think it was used for? What is the scene depicting? Loutrophoros means “carrier of washing water” and was used in ritual ceremonies, for example at weddings to carry water for bridal bath, funerals, to carry water for washing the corpse and mark graves. A vase of this shape commonly are decorated with scenes of mourners or wedding processions. Pot: Black figure Loutrophoros. 27.25 in tall Scene: Prothesis dead lying on a high couch surrounded by grieving women. Their hair is cut short as a sign of mourning. Below: horseman. Above on the neck: another group of mourning women, one holding a loutrophoros.
- Which technique? black figure, red figure or white ground? What do you think it was used for? What is the scene depicting? Lekythos: A flask used for toilet oils, perfume or condiments. Also used in funerary contexts to pour libations for the dead or was left on the grave as an offering. Pot: Black figure on white ground. Painter: Diophos. 8.6 in tall Scene: Perseus flying away with the head of medusa while Pegasus springs from her severed neck
- Which technique? black figure, red figure or white ground? What do you think it was used for? What is the scene depicting? Alabastron: An elongated, handleless flask with a narrow neck used to contain oils, perfume or condiments. It was sometimes suspended from an athletes wrist or from a peg on the wall. Pot: Red figure Albastron. 7.5 in tall Scene: An ephebos (a youth about to enter full citizenship, esp one undergoing military training) wearing a himation (A rectangular woolen or linen cloak worn by men and women in ancient Greece) and fillet, leaning forward to right against a staff, taking with his right a string of pendant beads from a square box which he holds in his left hand. Behind him, in the field, an alabastron with cords hangs from a peg