User:ArchaiOptix/East Greek painted pottery in the orientalizing and archaic period

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Dear visitor,
welcome to this partition of my picture gallery.
For my picture galleries about other object categories of ancient art please turn to my general user page (link on the top of this page).

Old Satyr Marsyas with ivy wreath

About me:
I am teaching Classics (Ancient Greek and Latin), Theology, modern Greek and Italian. I am particularly interested in Archaeology and History of Ancient Art. One of my other hobbies is photography. Combining these two hobbies I take lots of pictures in museums and archaeological sites and catalogue the photos according to the scientific literature.

About this picture gallery:
Under the relevant categories (of museums and painting styles) and more systematically on this user page I share a selection of my photos of ancient art.
The site is under construction since January 2020.
I thank all directors of museums who permit photography of the exhibits for private, educational, scientific, non-commercial purposes, thus spreading the knowledge of their treasures in a wider public. I hope that my photos published on wikimedia commons act also as an incentive to visit these museums and admire the works of art directly. Therefore editing the photos I refrain from replacing the background, so that the objects can be seen as displayed in the museum. If you intend to use one of my photos for commercial aims, I would recommend you to contact the museum.

The structure of this picture gallery:
production place (as far as known): regions / islands / towns from north to south
→ artistic epoch (painting style) / object category / date
→→ workshop / class / group / painter

East Greek painted pottery in the orientalizing and archaic period[edit]

There are different attempts to classify the pottery of the eastern Aegean according to chronology and place of production. Most recently and noteworthy:
Robert Manuel Cook, Pierre Dupont, East Greek Pottery, 1998(1) / 2003(2)
Michael Kerschner, Udo Schlotzhauer, A new Classification System for East Greek Pottery, 2005

Aiolis[edit]

important cities, findspots and probable workshop localisations: Methymna, Mytilene, Pitane, Kyme, Larisa, Phokaia

Aiolian grey ware[edit]

Aiolian subgeometric dot style[edit]

classified according to:
Kaan Iren, Aiolische Orientalisierende Keramik, Istanbul 2003

The Wild Goat Style of the Aiolis[edit]

classified according to:
Kaan Iren, Aiolische Orientalisierende Keramik, Istanbul 2003

Group of the London Dinos (Kyme? and / or Larisa?)[edit]
Aiolian late Wild Goat Style[edit]

Aiolian drop style[edit]

The Wild Goat Style of Northern Ionia[edit]

north ionian archaic Ic / middle wild goat style II(1): 630/625-610 BC[edit]

north ionian archaic Id / late wild goat style: 610-590 BC[edit]

Klazomenian pottery[edit]

Klazomenian Wild Goat Style pottery (reserving technique)[edit]

Klazomenian black figure pottery[edit]

classified according to:
Robert Manuel Cook, A List of Clazomenian Pottery, BSA 47 (1952), 123-152

Tübingen Group[edit]
Petrie Group[edit]
Urla Group[edit]
Enmann Class[edit]
Knipovitch Class[edit]

Temrjuk Group

Klazomenian (?) pottery painted with scale pattern[edit]
miscellaneous fragments without attribution to a specific group[edit]

Klazomenian sarcophagi[edit]

classified according to:
Robert Manuel Cook, Clazomenian Sarcophagi, Kerameus 3, Mainz 1981 (with his rather low dating)

precursors of the Albertinum Group[edit]
other sarcophagi of the later sixth century[edit]
Albertinum Group[edit]
Hopkinson Painter[edit]

The Wild Goat Style of Southern Ionia[edit]

principal production center: Milet (developing into the Fikellura style); in the earlier phases other cities have their share
classified according to:
Robert Manuel Cook, Pierre Dupont, East Greek Pottery, 1998(1) / 2003(2) and
Michael Kerschner, Udo Schlotzhauer, A New Classification System for East Greek Pottery, in: Ancient West and East 4.1, Leiden, Boston 2005
chronology and stylistic criteria differ slightly

rhodian and south ionian early orientalizing / transition from geometric to wild goat style: 680-660/650 BC[edit]

probably local production on Rhodos, gradual transition from rhodian late geometric, flaring shapes, still geometric ornaments and fields with cross-hatching (no concentric circles), but animals (real and mythological) of clear oriental inspiration, drawn in outline and silhouette, rather monumental, mostly set individually in metopes, free compositions more or less symmetrical, some interference between figure drawing and ornament

south ionian archaic Ia / early wild goat style: 660/650-640 BC[edit]

south ionian archaic Ib / middle wild goat style I: 640-630/625 BC[edit]

south ionian archaic Ic / middle wild goat style II(1): 630/625-610 BC[edit]

south ionian archaic Ic-d / middle wild goat style II: 630/625-600 BC: Swallow Painter[edit]

The Swallow Painter (pittore dei rondini) is an east greek south ionian artist who migrated to Etruria and founded a workshop probably at Vulci

south ionian archaic Id / middle wild goat style II(2)/III: 610-590/580 BC[edit]

south ionian archaic IIa / middle wild goat style III / late wild goat style: 590/580-560 BC[edit]

The Wild Goat / Animal Style of Chios[edit]

For the sake of terminological coherence all the pottery from Chios of the orientalizing and archaic periods is called ‘wild goat style’, although the wild goats soon disappear from the repertoire of chian painters.
classified according to:
Anna A. Lemos, Archaic Pottery of Chios, Oxford 1991, with additional attributions from other scientists ("Lemos extra")

chian middle wild goat style II: 630/625-600 BC[edit]

Würzburg Chalice Group[edit]
Group of the Aphrodite Bowl[edit]

chian mature animal style: 610-580 BC[edit]

Group of the Elaborate Animal Chalices[edit]
mature animal style chalices without attribution to a specific group[edit]

chian grand style: 580-570 BC[edit]

vases with filling ornaments[edit]
Naukratis Painter[edit]
Group of the Naukratis Painter[edit]
chian grand style chalices without attribution to a specific group[edit]

chian chalice / simple animal style: 580-550/540 BC[edit]

chalices with no filling ornaments[edit]
phialai with no filling ornaments[edit]
Group of Worshippers[edit]

early chian black figure: the Sphinx and Lion Style[edit]

Group B[edit]

chian black figure komast chalices: 560-550 BC[edit]

komast chalices group C[edit]
komast chalices group F[edit]

other groups of chian black figure chalices: 560-540 BC[edit]

Poultry Group[edit]

chian pottery without figural decoration[edit]

chian chalices without figural decoration Typ Hayes I: 630-600 BC[edit]
chian chalices without figural decoration: 600-550 BC[edit]
chian kantharoi type B: 575-550 BC[edit]

East Greek (Ionian?) black figure pottery[edit]

The Wild Goat Style of Samos[edit]

Ionian banded ware and other pottery withouth figured decoration[edit]

grouped according to the vase shape

neck-amphorai (standard shapes)[edit]

neck-amphorai with strap handles ("Nikosthenic shape")[edit]

hydriai[edit]

squat lekythoi[edit]

lydia[edit]

cup-skyphoi with everted rim ("Knickrandschalen")[edit]

kylikes (standard shape)[edit]

Ionian Little Master Cups and Face-Kantharoi[edit]

production centre: probably Samos, 560/550-530/520 BC

Osborne House Painter[edit]

Lion Painter[edit]

Ram Painter[edit]

Painter of the Naukratis Fragments[edit]

Ionian (Samian?) Little Master Cups without attribution to a specific painter[edit]

Ionian Face-Kantharoi without attribution to a specific painter[edit]

The Fikellura Style of Milet[edit]

The Fikellura Style (named after a findspot on Rhodos) flourished from ca. 560/550 to 494 in the workshops of Milet.
classified according to:
Robert Manuel Cook, Fikellura Pottery, BSA 34 (1933-1934), 1-98 and
Gerald Schaus, Two Fikellura Vase Painters, BSA 81 (1986), 251ff
with additional attributions not listed in Cook ("Cook extra")

Altenburg Painter[edit]

Tarquinia Group[edit]

Running Man Group[edit]

Würzburg Group[edit]

New York Group[edit]

Volute Free Group[edit]

Volute Zone Group[edit]

Plain Body Group[edit]

Louvre Group[edit]

Group of the squat oinochoai[edit]

Painter of the Running Satyrs[edit]

amphoriskoi Group 1: zone decoration[edit]

amphoriskoi Group 3: reticulation[edit]

amphoriskoi Group 4: banded[edit]

Fikellura vases without attribution to a specific group or painter[edit]

Phrygian pottery under Greek influence[edit]

subgeometric style in the late 7th century BC[edit]

The Wild Goat / Animal Style of Caria[edit]

classified according to:
Robert Manuel Cook, A List of Carian Orientalizing Pottery, OJA 18(1), 1999, 79-93

mixture of subgeometric and orientalizing features[edit]

the earlier phase of the Carian wild goat style[edit]

the flourishing phase of the Carian wild goat style: the Bochum Painter and his followers[edit]

Bochum Painter[edit]
circle / followers of the Bochum painter[edit]

Carian orientalizing pottery influenced by the Fikellura style[edit]

The Wild Goat / Animal Style of Kos[edit]

East Dorian Plates[edit]

The main production center of east Dorian plates was located in the region of Halasarna on the south coast of Kos (Alexandra Villing, Hans Mommsen, Rhodes and Kos: East Dorian Pottery Production of the Archaic Period, BSA 11, 2017, 99-154). Workshops on Nisyros, at Knidos and on Rhodos produced imitations with own characteristics.

Group of the Gorgo- and the Euphorbos-plates[edit]
main Group of east Dorian plates[edit]

standard: reserve / outline drawing technique, single animal in Tondo, below segment with radiating tongues (or rarely with a palmette with volutes); in rare cases the tondo is surrounded by a frieze of lotus buds and flowers

subgeometric and orientalizing "Rhodian" bird bowls / bird cups[edit]

This type of drinking vessel evolved from the late geometric bird kotyle. It may have its origins on the island of Rhodes, but during the seventh century more workshops at other places are likely to have taken part in the production
grouped according to: John Nicolas Coldstream, Greek Geometric Pottery: A Survey of Ten Local Styles and Their Chronology, Methuen, 1968

Group I: 690-675 BC[edit]

Group II: 675-640 BC[edit]

Group III: 650-615 BC[edit]

Group IV: 615-600 BC[edit]

archaic pottery from Rhodes: situlae[edit]

Group A goes rather with the middle wild goat style than with B and C
arranged according to: CVA London, British Museum, 8

Group B: ca. 550 BC[edit]

Group C: ca. 535-495 BC[edit]

archaic pottery from Rhodes: Vroulia Ware[edit]

classified according to: Karl Frederik Kinch, fouilles de Vroulia, Berlin 1914

Group A[edit]

bowls (cups) with reserved zone on the exterior, without added red, without incision: precursor of Vroulia ware proper,
same range of potter´s / painter´s marks on the underside of the foot as on canonical Vroulia ware bowls (cups)

Group B[edit]

canonical Vroulia ware with added red and incision

bowls B 1: with reserved zone on the exterior[edit]
bowls B 2: the exterior completely painted black and decorated by added red and incision[edit]
belly amphorai[edit]
stamnoi[edit]

The Northampton Group[edit]

(north?-)ionian(?) artist under attic influence, workshop located in Etruria(?)
classified according to:
Robert Manuel Cook, A List of Clazomenian Pottery, BSA 47 (1952), Appendix A
Robert Manuel Cook, Pierre Dupont, East Greek Pottery, 1998(1) / 2003(2)
John Boardman, Early Greek Vase Painting: 11th-6th Centuries BC, London 1998

neck-amphorai[edit]

by one hand, the Northampton Painter

one-piece-amphora[edit]

The Campana Group: ca. 540-510 BC[edit]

The vases are east greek (particularly Klazomenian) in style, but most pieces have been found in Etruria - apart from single finds on the coast of the Black Sea and in Egypt. Perhaps theese vases are products from the same workshop as the Northampton amphorai. Perhaps this east greek pottery workshop migrated to Etruria, but the location of the workshop remains still an open question.
classified according to: Jaap M. Hemelrijk, Elisabeth den Boer, Four New Campana Dinoi, a New Painter, Old Questions, in: BABesch 82 (2007)

Eight Painter = 8-Painter = Painter of Louvre E 676 = Painter of Louvre E 736 = Dinos Painter[edit]

Hoof Painter[edit]

Ribbon Painter = Painter of Louvre E 737-739 = Ricci Painter[edit]

other pieces of the Campana Group not securely attributed to one of the painters[edit]

Caeretan Hydriai[edit]

produced in a workshop located in Caere / Cerveteri. Leading artists: Eagle Painter (founder and master) and Busiris Painter (his pupil): immigrants from North-Ionia, 530-510 BC
arranged according to: Jaap M. Hemelrijk, Caeretan Hydriae, Mainz 1984 and Jaap M. Hemelrijk, More about Caeretan Hydriae. Addenda et Clarificanda, Amsterdam 2009; abbreviation in the image title: CH