Ancient Greek pottery styles

An­cient Greek pot­tery inform us on the de­vel­op­ment of Greek pic­to­r­ial art. The intricately painted scenes on An­cient Greek pottery is the result of hundreds of years of stylized evolution that occurred after the collapse of the Mycenaean Palace culture (ca. 1050 BCE).

The painting styles used on pottery from the Proto-Geometric period (ca. 1050 BCE) to the late Hellenistic period (late 4th century BCE) show the progression of simplistic painted designs to the elaborate scenes of everyday life and mythology that the Greeks are known for.

Achilles-and-Ajax-playing-a-board-game-overseen-by-Athena-detail

Achilles and Ajax playing a board game, overseen by Athena (detail)

Ancient Greek pottery styles

Pro­to­ge­o­met­ric styles

Vases of pro­to­ge­o­met­ri­cal pe­riod (c. 1050 – 900 BC) rep­re­sent the re­turn of craft pro­duc­tion af­ter the col­lapse of the Myce­naean Palace cul­ture and the en­su­ing Greek dark ages.

ancient greek pottery protogeometric style

Ancient Greek pottery protogeometric style

Pottery is one of the few modes of artis­tic ex­pres­sion be­sides jew­elry in this pe­riod since the sculp­ture, mon­u­men­tal ar­chi­tec­ture and mural paint­ing of this era are un­known to us. Yet by 1050 BC life in the Greek penin­sula seems to have be­come suf­fi­ciently set­tled to al­low a marked im­prove­ment in the pro­duc­tion of earth­en­ware. The style is con­fined to the ren­der­ing of cir­cles, tri­an­gles, wavy lines and arcs, but placed with ev­i­dent con­sid­er­a­tion and no­table dex­ter­ity, prob­a­bly aided by com­pass and mul­ti­ple brush.


Geo­met­ric style

Geo­met­ri­cal art flour­ished in the 9th and 8th cen­turies BC. It was char­ac­ter­ized by new mo­tifs, break­ing with the iconog­ra­phy of the Mi­noan and Myce­naean pe­ri­ods: me­an­ders, tri­an­gles and other geo­met­ri­cal dec­o­ra­tion (from whence the name of the style) as dis­tinct from the pre­dom­i­nantly cir­cu­lar fig­ures of the pre­vi­ous style.

The best ex­am­ples we have were grave goods, which of­ten al­lows us to dif­fer­en­ti­ate At­tic, other main­land and is­land styles since we may as­sume they were pro­duced in a batch for the sole pur­pose of bur­ial. How­ever our chronol­ogy comes from ex­ported wares found in dat­a­ble con­texts over­seas.

geometric style pyxis

Geometric style

With the early geo­met­ri­cal style (ap­prox­i­mately 900-850 B.C) one finds only ab­stract mo­tifs, in what is called the “Black Dipy­lon” style, which is char­ac­ter­ized by an ex­ten­sive use of black var­nish. With the Mid­dle Geo­met­ri­cal (ap­prox. 850-770 BC), fig­u­ra­tive dec­o­ra­tion makes its ap­pear­ance: they are ini­tially iden­ti­cal bands of an­i­mals such as horses, stags, goats, geese, etc. Which al­ter­nate with the geo­met­ri­cal bands.

In par­al­lel, the dec­o­ra­tion be­comes com­pli­cated and be­comes in­creas­ingly or­nate. The painter feels re­luc­tant to leave empty spaces and fills them with me­an­ders or swastikas. This phase is named hor­ror vacui and will not cease un­til the end of geo­met­ri­cal pe­riod.

In the mid­dle of the cen­tury there be­gin to ap­pear hu­man fig­ures. The best known rep­re­sen­ta­tions of which are those of the vases found in Dipy­lon, one of the ceme­ter­ies of Athens. The frag­ments of these large fu­ner­ary vases show mainly pro­ces­sions of char­i­ots or war­riors or of the fu­ner­ary scenes: πρόθεσις / proth­e­sis or ἐκφορά / ekphora.

Dipylon amphora

Dipylon amphora. Athenian funerary amphora, Late geometric I. The main scene shows the prothesis and mourning for the dead. Over the bier is the shroud. Men, women and a child lament with the hands on their heads in the usual mourning gesture. (760 - 750 BC)

The bod­ies are rep­re­sented in a geo­met­ri­cal way ex­cept for the calves, which are rather pro­tu­ber­ant. In the case of sol­diers, a shield in form of a Di­a­bolo, called “Dipy­lon shield” be­cause of its char­ac­ter­is­tic draw­ing, cov­ers the cen­tral part of the body. The legs and the necks of the horses, the wheels of the char­i­ots are rep­re­sented one be­side the other with­out per­spec­tive. The hand of this painter, so called in the ab­sence of sig­na­ture, is the Dipy­lon Mas­ter, could be iden­ti­fied on sev­eral pieces, in par­tic­u­lar mon­u­men­tal am­phorae.

At the end of the pe­riod there ap­pear rep­re­sen­ta­tions of mythol­ogy, prob­a­bly at the mo­ment when Homer cod­i­fies the tra­di­tions of Tro­jan cy­cle in the Il­iad and the Odyssey. Here how­ever, the in­ter­pre­ta­tion con­sti­tutes a risk for the mod­ern ob­server: a con­fronta­tion be­tween two war­riors can be as well a Home­ric duel as a sim­ple com­bat; a failed boat can rep­re­sent the ship­wreck of Odysseus or any hap­less sailor.

Lastly, we have the lo­cal schools that ap­pear in Greece. Pro­duc­tion of vases was largely the pre­rog­a­tive of Athens – it is well at­tested that as in the proto-geo­met­ri­cal pe­riod, in Corinth, Boeo­tia, Ar­gos, Crete and Cy­clades, the painters and pot­ters were sat­is­fied to fol­low the At­tic style. From about the 8th cen­tury BC on, they cre­ated their own styles, Ar­gos spe­cial­iz­ing in the fig­u­ra­tive scenes, Crete re­main­ing at­tached to a more strict ab­strac­tion.


Ori­en­tal­iz­ing style

The ori­en­tal­iz­ing style was the prod­uct of cul­tural fer­ment in the Aegean and East­ern Mediter­ranean of the 8th and 7th cen­turies BC. Fos­tered by trade links with the city-states of Asian Mi­nor the ar­ti­facts of the East in­flu­enced a highly styl­ized yet rec­og­niz­able rep­re­sen­ta­tional art. Ivories, pot­tery and met­al­work from the Neo-Hit­tite prin­ci­pal­i­ties of north­ern Syria and Phoeni­cia found their way to Greece, as did goods from Ana­to­lian Urartu and Phry­gia, yet there was lit­tle con­tact with the cul­tural cen­ters of Egypt or As­syria.

Corinthian jug. 620 BC. Staatliche Antikensammlungen

Corinthian jug. 620 BC. Staatliche Antikensammlungen

The new id­iom de­vel­oped ini­tially in Corinth (as Proto-Corinthian) and later in Athens be­tween circa 725 BC to 625 BC (as Proto-At­tic). It was char­ac­ter­ized by an ex­panded vo­cab­u­lary of mo­tifs: sphinx, grif­fin, li­ons, etc., as well as a reper­tory of non-mytho­log­i­cal an­i­mals arranged in friezes across the belly of the vase. In these friezes, painters also be­gan to ap­ply lo­tuses or pal­mettes.

De­pic­tions of hu­mans were rel­a­tively rare. Those that have been found are fig­ures in sil­hou­ette with some in­cised de­tail, per­haps the ori­gin of the in­cised sil­hou­ette fig­ures of the black-fig­ure pe­riod. There is suf­fi­cient de­tail on these fig­ures to al­low schol­ars to dis­cern a num­ber of dif­fer­ent artists” hands. Geo­met­ri­cal fea­tures re­mained in the style called proto-Corinthian that em­braced these ori­en­tal­iz­ing ex­per­i­ments, yet which co­ex­isted with a con­ser­v­a­tive sub-geo­met­ric style.

The ce­ram­ics of Corinth were ex­ported all over Greece, and their technique ar­rived in Athens, prompt­ing the de­vel­op­ment of a less markedly East­ern id­iom there. Dur­ing this time de­scribed as Proto-At­tic, the ori­en­tal­iz­ing mo­tifs ap­pear but the fea­tures re­main not very re­al­is­tic.

The painters show a pref­er­ence for the typ­i­cal scenes of the Geo­met­ri­cal Pe­riod, like pro­ces­sions of char­i­ots. How­ever, they adopt the prin­ci­ple of line draw­ing to re­place the sil­hou­ette. In the mid­dle of 7th cen­tury BC, there ap­pears the black and white style: black fig­ures on a white zone, ac­com­pa­nied by poly­chromy to ren­der the color of the flesh or cloth­ing.

Clay used in Athens was much more or­ange than that of Corinth, and so did not lend it­self as eas­ily to the rep­re­sen­ta­tion of flesh. At­tic Ori­en­tal­is­ing Painters in­clude the Analatos Painter, the Meso­geia Painter and the Polyphe­mos Painter.

Crete, and es­pe­cially the is­lands of the Cy­clades, are char­ac­ter­ized by their at­trac­tion to the vases known as “plas­tic”, i.e. those whose paunch or col­lar is moulded in the shape of head of an an­i­mal or a man. At Aegina, the most pop­u­lar form of the plas­tic vase is the head of the grif­fin. The Melane­sian am­phoras, man­u­fac­tured at Paros, ex­hibit lit­tle knowl­edge of Corinthian de­vel­op­ments. They pre­sent a marked taste for the epic com­po­si­tion and a hor­ror vacui, which is ex­pressed in an abun­dance of swastikas and me­an­ders.

Fi­nally one can iden­tify the last ma­jor style of the pe­riod, that of Wild Goat Style, al­lot­ted tra­di­tion­ally to Rhodes be­cause of an im­por­tant dis­cov­ery within the necrop­o­lis of Kameiros. In fact, it is wide­spread over all of Asia Mi­nor, with cen­ters of pro­duc­tion at Mile­tos and Chios. Two forms pre­vail: oeno­choes, which copied bronze mod­els, and dishes, with or with­out feet. The dec­o­ra­tion is or­ga­nized in su­per­im­posed reg­is­ters in which styl­ized an­i­mals, in par­tic­u­lar of feral goats (from whence the name) pur­sue each other in friezes. Many dec­o­ra­tive mo­tifs (flo­ral tri­an­gles, swastikas, etc.) fill the empty spaces.


Black fig­ure

The black-fig­ure pe­riod co­in­cides ap­prox­i­mately with the era des­ig­nated by Winkel­mann as the mid­dle to late Ar­chaic, from c. 620 to 480 BC. The tech­nique of in­cis­ing sil­hou­et­ted fig­ures with en­liven­ing de­tail which we now call the black-fig­ure method was, as we saw, a Corinthian in­ven­tion of the 7th cen­tury and spread from there to other city states and re­gions in­clud­ing Sparta, Boeo­tia, Eu­boea, the east Greek is­lands and Athens.

blackfigure Greek pottery

Blackfigure Greek pottery

The Corinthian fab­ric, ex­ten­sively stud­ied by Hum­fry Payne and Dar­rell Amyx, can be traced though the par­al­lel treat­ment of an­i­mal and hu­man fig­ures. The an­i­mal mo­tifs have greater promi­nence on the vase and show the great­est ex­per­i­men­ta­tion in the early phase of Corinthian black-fig­ure. As Corinthian artists gained in con­fi­dence in their ren­der­ing of the hu­man fig­ure the an­i­mal frieze de­clined in size rel­a­tive to the hu­man scene dur­ing the mid­dle to late phase. By the mid-6th cen­tury BC, the qual­ity of Corinthian ware had fallen away sig­nif­i­cantly to the ex­tent that some Corinthian pot­ters would dis­guise their pots with a red slip in im­i­ta­tion of su­pe­rior Athen­ian ware.

At Athens, re­searchers have found the ear­li­est known ex­am­ples of vase painters sign­ing their work, the first be­ing a Di­nos by Sophi­los (il­lus. be­low, BM c. 580), this per­haps in­dica­tive of their in­creas­ing am­bi­tion as artists in pro­duc­ing the mon­u­men­tal work de­manded as grave mark­ers, as for ex­am­ple with Kleitias’s François Vase. Many schol­ars con­sider the finest work in the style to be­long Ex­ekias and the Ama­sis Painter, who are noted for their feel­ing for com­po­si­tion and nar­ra­tive.

Circa 520 BC the red-fig­ure tech­nique was de­vel­oped and was grad­u­ally in­tro­duced in the form of the bilin­gual vase by the An­dokides Painter, Oltos and Psiax.[14] Red-fig­ure quickly eclipsed black-fig­ure yet in the unique form of the Panathanaic Am­phora, black-fig­ure con­tin­ued to be utilised well into the 4th cen­tury BC.


Red fig­ure

The in­no­va­tion of the red-fig­ure tech­nique was an Athen­ian in­ven­tion of the late 6th cen­tury. The abil­ity to ren­der de­tail by di­rect paint­ing rather than in­ci­sion of­fered new ex­pres­sive pos­si­bil­i­ties to artists such as three-quar­ter pro­files, greater anatom­i­cal de­tail and the rep­re­sen­ta­tion of per­spec­tive. The first gen­er­a­tion of red-fig­ure painters worked in both red- and black-fig­ure as well as other meth­ods in­clud­ing Six”s tech­nique and white ground; the lat­ter was de­vel­oped at the same time as red-fig­ure.

The wedding of Thetis, pyxis by the Wedding Painter, circa 470/460 BC. Louvre Museum, Paris France

The wedding of Thetis, pyxis by the Wedding Painter, circa 470/460 BC. Louvre Museum, Paris, France.

How­ever, within twenty years, ex­per­i­men­ta­tion had given way to spe­cial­iza­tion as seen in the vases of the Pi­o­neer Group, whose fig­ural work was ex­clu­sively in red-fig­ure, though they re­tained the use of black-fig­ure for some early flo­ral or­na­men­ta­tion. The shared val­ues and goals of The Pi­o­neers such as Eu­phro­nios and Eu­thymides sig­nal that they were some­thing ap­proach­ing a self-con­scious move­ment, though they left be­hind no tes­ta­ment other than their own work. John Board­man said of the re­search on their work that “the re­con­struc­tion of their ca­reers, com­mon pur­pose, even ri­val­ries, can be taken as an ar­chae­o­log­i­cal tri­umph”

The next gen­er­a­tion of late Ar­chaic vase painters (c. 500 to 480 BC) brought an in­creas­ing nat­u­ral­ism to the style as seen in the grad­ual change of the pro­file eye. This phase also sees the spe­cial­iza­tion of painters into pot and cup painters, with the Berlin and Kleophrades Painters no­table in the for­mer cat­e­gory and Douris and Ones­i­mos in the lat­ter.

By the early to high clas­si­cal era of red-fig­ure paint­ing (c. 480 to 425 BC), a num­ber of dis­tinct schools had evolved. The man­ner­ists as­so­ci­ated with the workshop of Myson and ex­em­pli­fied by the Pan Painter hold to the ar­chaic fea­tures of stiff drap­ery and awk­ward poses and com­bine that with ex­ag­ger­ated ges­tures. By con­trast, the school of the Berlin Painter in the form of the Achilles Painter and his peers (who may have been the Berlin Painter’s pupils) favored a nat­u­ral­is­tic pose usu­ally of a sin­gle fig­ure against a solid black back­ground or of re­strained white-ground lekythoi. Polyg­no­tos and the Kleophon Painter can be in­cluded in the school of the Nio­bid Painter, as their work in­di­cates some­thing of the in­flu­ence of the Parthenon sculp­tures both in theme (e.g., Polyg­no­tos’s cen­tau­ro­machy, Brus­sels, Musées Roy­aux A. & Hist., A 134) and in feel­ing for com­po­si­tion.

To­ward the end of the cen­tury, the “Rich” style of At­tic sculp­ture as seen in the Nike Balustrade is re­flected in con­tem­po­rary vase paint­ing with an ever greater at­ten­tion to in­ci­den­tal de­tail, such as hair and jew­ellery. The Mei­dias Painter is usu­ally most closely iden­ti­fied with this style.

Vase pro­duc­tion in Athens stopped around 330-320 BC pos­si­bly due to Alexan­der’s con­trol of the city, and had been in slow de­cline over the 4th cen­tury along with the po­lit­i­cal for­tunes of Athens it­self. How­ever, vase pro­duc­tion con­tin­ued in the 4th and 3rd cen­turies in the Greek colonies of south­ern Italy where five re­gional styles may be dis­tin­guished.

These are the Apu­lian, Lu­can­ian, Si­cil­ian, Cam­pan­ian and Paes­tan. Red-fig­ure work flour­ished there with the dis­tinc­tive ad­di­tion of poly­chro­matic paint­ing and in the case of the Black Sea colony of Pan­t­i­capeum the gilded work of the Kerch Style. Sev­eral note­wor­thy artists’ work comes down to us in­clud­ing the Dar­ius Painter and the Un­der­world Painter, both ac­tive in the late 4th cen­tury, whose crowded poly­chro­matic scenes of­ten es­say a com­plex­ity of emo­tion not at­tempted by ear­lier painters. Their work rep­re­sents a late man­ner­ist phase to the achieve­ment of Greek vase paint­ing.


White ground tech­nique

The white-ground tech­nique was de­vel­oped at the end of the 6th cen­tury BC. Un­like the bet­ter-known black-fig­ure and red-fig­ure tech­niques, its col­oration was not achieved through the ap­pli­ca­tion and fir­ing of slips but through the use of paints and gild­ing on a sur­face of white clay. It al­lowed for a higher level of poly­chromy than the other tech­niques, al­though the vases end up less vi­su­ally strik­ing.

Cylix of Apollo, Attic, c. 460 BC. Apollo pours a libation

Cylix of Apollo, Attic, c. 460 BC. Apollo pours a libation

The tech­nique gained great im­por­tance dur­ing the 5th and 4th cen­turies, es­pe­cially in the form of small lekythoi that be­came typ­i­cal grave of­fer­ings. Im­por­tant rep­re­sen­ta­tives in­clude its in­ven­tor, the Achilles Painter, as well as Psiax, the Pis­toxenos Painter and the Thanatos Painter.


Hel­lenis­tic Pe­riod

The Hel­lenis­tic pe­riod (which we take to be roughly the late 4th cen­tury to the 1st cen­tury BC) is one of cul­tural de­cline in the tra­di­tional cen­tres of Greek pot­tery pro­duc­tion. Red-fig­ure paint­ing had died out in Athens by the end of the 4th cen­tury BC to be re­placed by what is known as West Slope Ware, so named af­ter the finds on the west slope of the Athen­ian Acrop­o­lis.

This lat­ter style con­sisted of paint­ing in a tan colored slip and white paint on a fired black slip back­ground with some in­cised de­tail­ing, rep­re­sen­ta­tions of peo­ple di­min­ished with this id­iom to be re­placed with sim­pler mo­tifs such as wreaths, dol­phins, rosettes, etc. Vari­a­tions of this style spread through­out the Greek world with no­table cen­tres in Crete and Apu­lia, where fig­ural scenes con­tin­ued to be in de­mand. Bricks and tiles were used for ar­chi­tec­tural and other pur­poses.

Sev­eral Greek styles con­tin­ued into the Ro­man pe­riod, and Greek in­flu­ence, partly trans­mit­ted via the An­cient Etr­uscans, on An­cient Ro­man pot­tery was con­sid­er­able, es­pe­cially in fig­urines.

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