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The Harrow Painter had a relatively long career, beginning not long before 480 and extending well into the 460s, from the end of the Late Archaic period into the Early Classical. The current list of works attributed to his hand stands at about 112, with another dozen or so probably by him or very close in style.1

Among his early works are large neck-amphorai with twisted handles and slender oinochoai with graceful figures isolated against a black background. In style these works show the strong influence of another, greater artist, the Berlin Painter. This influence, often noted by Beazley and others, is manifested in several ways, from the stances of individual figures and the patterns of drapery folds, to a consistent concern for drawing certain muscles with golden dilute glaze. Beazley thought the figures on a pair of oinochoai formerly in the Noble collection, now in the Tampa Museum of Art, were direct copies of the Berlin Painter (Tampa 86.72;

and Tampa 86.73;

).2 In each case, a nude slave boy is running along with provisions for a symposium; one carries a ladle and jug and the other balances a tray of food while rolling a hoop, a childish distraction that emphasizes his youth. Although, as Beazley said, these pictures have the grace, the charis, of the Berlin Painter, the Harrow Painter's distinctive style is also clearly discernible.

The influence of the Berlin Painter on the Harrow Painter's work is undeniable, and one could point to other parallels besides the oinochoai in Tampa.3 However, Robertson is surely correct that the Harrow Painter was neither a pupil of the Berlin Painter nor a member of his workshop.4 This is supported by a comparison of similar vase shapes, such as neck-amphorae, which were clearly produced by different potters, and by the fact that each artist eschewed some shapes favored by the other. Rather, the Harrow Painter seems to have admired the Berlin Painter from a distance, perhaps, as Robertson has suggested, as the principal painter in an independent workshop.5 He did not try to mimic the master's narrative style or transfer whole multi-figure compositions to his own works, but was impressed by individual figures and intimate groups. It is perhaps this influence which accounts for a certain affinity with another artist related to the Berlin Painter, the Tithonos Painter, some of whose works are quite close in style to the Harrow Painter.6 The Syriskos Painter, another artist influenced by the Berlin Painter, also occasionally worked in a vein reminiscent of the Harrow Painter, although he was a better draughtsman and a more flattering imitator of the master.7

1 Beazley attributed 97 vases and fragments to the Harrow Painter, but at least 15 more have been added since Paralipomena; see the list in Padgett 1989, 160-205, to which may be added: (1) a fragment (oinochoe?) with a youth wearing a Thracian cap; M. Marti, in Die Sammlung Collisani (Zürich 1990) 131, no. 189; (2) a neck-amphora with twisted handles in the Patricia Kluge collection, Charlottesville, Virginia; One Thousand Years of Ancient Greek Vases, Royal-Athena Galleries (New York 1990) no. 64; A, seated youth with lyre, and man; B, draped youth; (3) column-krater Kiel B 547 (CVA, Kiel 1, pls. 31, 1-2 and 32, 1-5; A, Herakles and Pholos; B, two komasts), which B. Freyer-Schauenburg compares to the Harrow Painter and which is certainly from his hand. Among attributions to the painter which should be excluded from the list are: (1) kalpis formerly in the London market; Sotheby's, London, 13-14 July 1981, no. 266; E. Böhr, CVA, Tübingen 4, p. 2; (2) column-krater Kassel T.716 (CVA, 1, 54, pl. 33), which is surely by the Boreas Painter; (3) column-krater in the Fondazione Mormino, Palermo, which has more in common with the Leningrad Painter and his associates in the Early Mannerist Group; V. Tusa, Odeon (Palermo 1971) 430, pl. 57 a-b; (4) psykter in the Villa Giulia (Villa Giulia 3577;

), which Robertson believes is an attempt by the painter to copy a wall-painting, but which seems to me neither by nor in the manner of the Harrow Painter; Robertson 1992, 134; FR, pl. 15.

2 ARV2, 1635-36, 13 bis and 13 ter, and 1705, 78 bis and 78 ter. See also Robertson 1992, 127-28, fig. 131.

3 For example, cf. the Athena on the oinochoe Copenhagen, Thorvaldsen Museum 94 (ARV2, 276, 78), the Harrow Painter, with the goddess on the oinochoe Leiden PC 74 (ARV2, 198, 25), by the Berlin Painter. It is possible that larger compositions, such as the Heraclean Amazonomachy on the column-krater Rome, Palazzo dei Conservatori 185 (ARV2, 274, 41), may have been copied from or inspired by the Berlin Painter, whose own grander depiction of the subject on the amphora Basel BS 453 (CVA, pl. 45) may in turn have been based on a work of Euphronios, such as his volute-krater in Arezzo (Arezzo 1465;






; ARV2, 15, 6). Some imitations of the Berlin Painter are so skilled that it is difficult to say who was responsible; e.g. Louvre G 178 (ARV2, 218, 2), in which Beazley saw details recalling the Harrow Painter.

4 M. Robertson, "Beazley and After," MJb 27 (1976) 29-46; Robertson 1992, 134.

5 Robertson 1992, 127.

6 E.g. Naples 3182 and Hamburg 1893.100 (ARV2, 309, 5 and 9).

7 Some of his satyrs are especially close; e.g. Frankfurt, Liebieghaus L 116 and Heidelberg 125 (ARV2, 260, 3 and 262, 36). Cf. the himation folds on Munich 2407 and Frankfurt St. V 3, by the Harrow Painter (ARV2, 274, 35 and 37), to those on London E 161, by the Syriskos Painter (ARV2, 262, 41).

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