The wounded warrior Telephos holds the baby Orestes hostage at an altar, with Agamemnon and Clytemnestra rushing to save their son. Two Furies flank her, while Jason and a distraught nurse and teacher approach the bodies on the altar below.Ī different tragedy unfolds on the other side of the vase, from Euripides’s Telephos (438 BC). Seeking revenge against her husband Jason, leader of the Argonauts, Medea has just slain their two children. Framed in the center by a halo (recalling her sun god grandfather Helios), the sorceress Medea flies off in a dragon-drawn chariot. The remarkable scene on the front of this vase relates to the famous tragedy Medea, written by Euripides and first produced in Athens in 431 BC. Near the Policoro Painter (South Italian, Lucanian, active c. Rather than being signs of hellenization in a foreign culture, Athenian eye cups - like all Greek vases - were brought into Etruria then integrated, manipulated, and even transformed to suit local needs and beliefs.Red-Figure Calyx-Krater (Mixing Vessel): Medea in Chariot (A) Telephos with Baby Orestes (B), c. Altamura Painter - Red-Figure Calyx Krater - Walters 48262 - Side A Detail white-balanced white-bg.jpg 1,716 × 1,779 3.44 MB. Akhilleus Charun Cdm Paris 2783 full.jpg 641 × 900 112 KB. Medium: Terracotta Dimensions: Object: 42.7 × 43.3 cm (16 13/16 × 17 1/16 in.) Place: Athens, Greece (Place Created) Culture: Greek (Attic) Object Number: 80.AE. The following 101 files are in this category, out of 101 total.
Tomb assemblages from Vulci and elsewhere reveal their multivalent significance: emblematic of banqueting in life and death, apotropaic entities, likely with ritual uses. Full Artwork Details Title: Attic Red-Figure Calyx Krater Artist/Maker: Attributed to the Villa Giulia Painter (Greek (Attic), active about 470 - 440 B.C.) Date: 460450 B.C. The Etruscan consumers of eye cups made conscious choices regarding their purchase and usage. Workshops were clearly aware of their audiences at home and abroad and shifted production and distribution of vases to suit. Indeed, the earliest, largest, and highest-quality (to modern eyes) examples were exported to Etruria, where the symposion as the Athenians knew it did not exist. Although many eye cups have been found in Athens - namely on the Acropolis and mainly from late in the series - the majority come from funerary, sanctuary, and domestic contexts to the west and east. Such emphases, however, neglect chronology and distribution, which reveal the complexity of the pottery market in the late sixth and fifth centuries B.C.E.
"Since the late 1970s, scholars have explored Athenian eye cups within the presumed context of the symposion, privileging a hypothetical Athenian viewer and themes of masking and play.
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