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Attributions

Beazley ultimately attributed 113 red-figures vases to the Kleophrades Painter, and also 21 black-figure works, including several Panathenaic prize amphorae. One of the red-figure fragments has been found to join a stamnos by the Triptolemos Painter,1 but additional attributions have brought the red-figure total to about 135 (even more, if one accepts some of the more controversial attributions mentioned below). Several of the new works are fragments from the Kerameikos, including the painter's only column-krater and parts of two loutrophoroi and two calyx-kraters, as well as additional fragments of a previously known calyx-krater with the Ransom of Hektor (ARV2, 186, 45).2

Several other new works are in the J. Paul Getty Museum, including a kalpis with Phineus and the Harpies (framed on the shoulder), fragments of the painter's only dinos, with symposiasts reclining on top of the rim, a volute-krater with a coral-red body, and several pieces of another volute-krater previously known from fragments in the Louvre.3

A psykter with a symposium scene, in Princeton, and an amphora of type A, in a private collection, the latter with Herakles killing the Hydra and Peleus wrestling Thetis, have rightly been attributed to the very early Kleophrades Painter.4 Somewhat later is a pointed amphora in Berlin, with Theseus slaying the Minotaur on the body, satyrs and maenads and warriors arming on the neck.5 Another new addition is the painter's only known oinochoe, of shape 1, with a warrior holding a helmet.6 Ashmead thinks the head of Athena on a stamnos fragment in Athens (Athens, Acr. 733) is probably by the painter, and it does indeed seem to be in his late style.7 Robertson believes the artist painted a woman seated next to a dwarf in the tondo of a kylix in Athens (Athens, Agora P 2574), but the attribution is by no means certain.8 On the other hand, he is probably right in recognizing the painter's hand in the name-vase of Beazley's Sosias Painter (Berlin F 2278), a handsome and much-published kylix with Achilles tending the wounded Patroklos on the inside and Herakles entering Olympus on the exterior.9 Ohly-Dumm, however, believes the Sosias cup and some works now attributed to the early Kleophrades Painter may in fact be by Euthymides, another indication of how difficult it can be to separate the master from the pupil.10

The earliest years of the Kleophrades Painter's career have been the object of recent study, but there is disagreement as to which works should be included in his oeuvre; for example, Robert Guy believes the vases of Beazley's Pezzino Group are by the young Kleophrades Painter, but Robertson disagrees.11

1 Louvre C 10838 (ARV2, 191, 100) joins Louvre C 10834 and Florence 19 B 41 (ARV2, 361, 3); see Beazley Addenda 2, 189 and 222.

2 For the Kerameikos fragments, see Knigge 1970.

3 For the Phineus kalpis (Malibu 85.AE.316), see J. M. Padgett, "Phineas and the Boreads on a Pelike by the Nausicaa Painter," Journal of the Museum of Fine Arts, Boston 3 (1991) 20, fig. 5. For the dinos (Malibu 76.AE.132.1B and 81.AE.148) and a cup fragment with the head of Athena (Malibu 77.AE.21.18), see M. Robertson, "Fragments of a Dinos and a Cup Fragment by the Kleophrades Painter," Greek Vases in the J. Paul Getty Museum 1 (1983) 51-54. For the volute-krater with a coral-red body and the deeds of Herakles on the rim (Malibu 84.AE.974), see GettyMusJ 13 (1985) 170, no. 24; and Noble 1988, pl. VII. For the volute-krater fragments (Malibu 77.AE.11) which join Louvre G 166 (ARV2, 186, 51), see Greifenhagen 1972, 24-41, pls. 14-25; and Frel 1977a, 63-70. For a fragmentary neck-amphora with twisted handles (Malibu 76.AE.54), see Frel 1977a, 70-72. For fragments of a kalpis with a sleeping maenad and a masturbating satyr (Malibu 85.AE.188), see Robertson 1992, 134, fig. 136. Other unpublished works in Malibu include a pelike fragment with a female head (Malibu 86.AE.197) and stamnos fragments with Peleus and Thetis (Malibu 81.AE.220).

4 For the psykter, attributed by Robert Guy, see Record of the Princeton Art Museum, vol. 49, no. 1 (1990) 46. For the amphora, attributed by J.-L. Zimmermann, see D. von Bothmer, in Glories of the Past: Ancient Art from the Shelby White and Leon Levy Collection (New York 1990) 153-154, no. 115; von Bothmer prefers an attribution to the Dikaios Painter.

5 Berlin inv. 1970.5; Greifenhagen 1972, 13-21, pls. 1-11.

6 Formerly in the Swiss art market; Palladion antike Kunst (Basel 1976) 34, no. 31.

7 Ashmead 1966, 35-36, pl. 12.

8 M. Robertson, "An Unrecognized Cup by the Kleophrades Painter?," in Stele: Tomos eis mnemen Nikolaou Kontoleontos (Athens 1978) 125-29.

9 ARV2, 21, 1; Robertson 1992, 106. Cf. the Achilles to the Neoptolemos on the Kleophrades Painter's kalpis in Naples (Naples 2422;

; ARV2, 189, 74).

10 M. Ohly-Dumm 1984.

11 R. Guy, "Origins of the Kleophrades Painter," unpublished lecture given at the "Glories of the Past" symposium, New York, November 11, 1991; and Robertson 1992, p. 58; and Robertson 1978, 127-28. Such works as the Levy amphora of type A, mentioned above, suggest that Guy may be right, though not every vase in the Group should be included; e.g. a psykter in a private collection (ARV2, 1621, 3 bis). Guy also adds to the Group the neck-amphora Vienna 3723 (ARV2, 193) and the kalpides Munich 2424 (ARV2, 193) and Harvard 1972.40 (Para., 324, 13 bis). Beazley placed the Vienna pelike near the Kleophrades Painter in his earliest period and thought the Harvard kalpis recalled Euthymides and the earliest Kleophrades Painter. Richter (Richter 1936, 109-112) attributed the Vienna amphora to the Kleophrades Painter himself (as does Guy). For the Pezzino Group, see ARV2, 32, 1621, and 1705; Para., 324; Beazley Addenda 2, 157; and P. E. Arias, "Morte di un eroe," ArchCl 21 (1969) 190-209.

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