The Kleophrades Painter
Michael Padgett, Princeton University

14. Shapes: Amphorae (early examples) Part 1

The painter's amphorae are very diverse. The earliest are those of type A with framed pictures.[73] The influence of Euthymides is strong, not only in the figure style and compositions, but also the shapes and subsidiary ornament, such as the black palmettes (Illustration 74). [74] Unlike Euthymides, however, the Kleophrades Painter also used the old-fashioned black-figure lotus-and-palmette chain as an upper frame (Illustration 75).

Illustration 74

Illustration 75

Illustration 76

This may indicate that he received his first training in a black-figure workshop, perhaps, as Robertson suggests, the Leagros Group, which had close connections with the Pioneer workshop.[75] Additional indications of this are the minor black-figure pictures on three of his red-figure works: the chariot races on the lids of two amphorae of type A (Würzburg L 507, Illustration 76; and Munich 2305), the deer-hunt, riders, and chariot on the mouth of one of these amphorae (Munich 2305), and the horsemen on the lower body of the loutrophoros Louvre CA 453 (Illustration 77; Illustration 78; Illustration 79; Illustration 80; Illustration 81; Illustration 82). [76]

Illustration 77	Illustration 78
Illustration 79	Illustration 80
Illustration 81	Illustration 82

Except for the loutrophoros, these black-figure scenes pre-date the painter's later production of black-figure neck-amphorae (see below).

74. Bloesch placed both painters' amphorae of type A in his Eukleo Class; see H. Bloesch, "Stout and Slender in the Late Archaic Period," JHS 71 (1951) 31-35. Cf. the ornament on Louvre G 44, Euthymides (ARV2, 27, 3).

75. Robertson 1992, 58. Bloesch assigned a black-figure amphora of the Leagros Group, Munich 1416 (ABV, 367, 90), to the same potter as three amphorae by the Kleophrades Painter (ARV2, 181-82, nos. 1, 3, and 4); see Bloesch 1951, 32; and ARV2, 194. For the organization of the Pioneer Workshop, see M. Robertson, "The Pioneers in Context," in Euphronios und seine Zeit (Berlin 1992) 132-39.