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Followers of the Harrow Painter

For so prolific a painter, the Harrow Painter had little impact on his contemporaries. He had few followers, and those who did learn from him drew on his late work; the crude vapidity of their paintings reflects the decline in his own talent. The Painter of Ferrara T.756, whom Beazley placed near the Harrow Painter, is known only from two small column-kraters (ARV2, 278, 1-2), both dating to the mid-460s and executed in a broad, Early Classical style. A somewhat larger oeuvre — six column-kraters and two pelikai1 — is assigned to the Walters Painter, a negligible artist clearly in the Harrow Painter's orbit; he may even have copied some of the painter's late works.2 The figures on the obverse of the pelike Tampa 86.65 (ARV2, 1641, 8), particularly the mantled boy and the man leaning on his staff, are familiar types from the Harrow Painter's repertoire (

); compare the figures on Agrigento C.2033 (ARV2, 275, 52). The shape of the Tampa pelike and the frieze of silhouetted animals are alien to the Harrow Painter, but the cap-like hair, outlined ears, and banal mantled figures are clearly related. The subject of the obverse, a boy between two youths, one of whom offers him a purse, is also familiar. The young athletes on the reverse are hoplitodromoi, to judge by the shield and helmet on the ground (

). Its ancient owner apparently valued this vase enough to have its broken handle re-attached with bronze rivets (

). Neither the Walters Painter nor the Painter of Ferrara T.756 left a legacy as diverse and individual as that of the Harrow Painter.

1 ARV2, 278-79, 1-7, and 1641, 8.

2 Cf. the symposium scenes on Florence 3999, by the Harrow Painter (ARV2, 275, 47) and Louvre C 10756, by the Walters Painter (ARV2, 278, 4); the servant boys with jugs and strainers are virtually identical. See Jan N. Bremmer, "Adolescents, Symposia and Pederasty," in O. Murray, ed., Sympotica (Oxford, 1990) 135-48.

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