Kylix: Attributed to the painter of Tarquinia, Attic Greece, 5th century BC. Kyl…
Description

Kylix: Attributed to the painter of Tarquinia, Attic Greece, 5th century BC.

Kylix: Attributed to the painter of Tarquinia, Attic Greece, 5th century BC. Ceramics of red figures. Attached thermoluminescence. Restored from original fragments. Provenance: Private Collection, Germany. Measures: 9 x 30 x 22,5 cm. Kylix of circular base on which rests a cylindrical foot that gives way to the body of round perimeter, from whose lateral ends depart two handles of rectangular format. The piece is decorated with a figurative design located in the center of the inner area of the vessel, applied with the technique of red figures. The scene, which follows the aesthetics of the painter from Tarquinia, presents a male character inscribed in a tondo formed by a characteristic fretwork of geometric motifs that follow one another rhythmically. The central character in profile to the viewer and naked is a sportsman who is practicing. The Tarquinia painter (fl. c. 470-460 B.C.) was an ancient Attic vase painter who worked in the red-figure technique in the early 5th century B.C. His artistic personality has been studied by John Beazley from his type piece, Tarquinia RC 1121, Museo Nazionale Tarquiniese, illustrated in Corpus Vasorum Antiquorum II, plate 22.1. This typology of was used as a wine drinking vessel, usually found characterized by a relatively shallow and wide body standing on a foot, with two symmetrically arranged handles. It was mainly used in symposiums, since its shape allowed for drinking while reclining, as was done at banquets. Red-figure pottery was one of the most important figurative styles of Greek pottery. It was developed in Athens around 530 B.C., and was used until the 3rd century B.C. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the coloring is inverted, the figures being highlighted on a dark background, as if they were illuminated by a theatrical light, following a more natural scheme. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. In contrast, the red-figure technique allowed greater freedom. Each figure was silhouetted against a black background, allowing painters to portray anatomical details with more accuracy and variety. Over time these decorations would become more complex, incorporating numerous details in both black and white, which enhanced the narrative and decorative sense of the depictions.

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Kylix: Attributed to the painter of Tarquinia, Attic Greece, 5th century BC.

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