Around 530 BCE, Athenian painters invented the red-figure technique - reversing the black-figure process. This allowed greater flexibility in depicting anatomy, drapery, and facial expression.
The "Pioneer Group" (c. 520-500 BCE) were the first generation of red-figure painters. They competed with each other, sometimes adding inscriptions like "Euphronios never did anything like this" on their vases.
Key Pioneers
Euphronios: Greatest anatomist of the group Euthymides: Euphronios' rival, experimented with foreshortening Phintias: Known for refined detail Andokides Painter: Possibly invented the technique
Bilingual Vase: Lysippides/Andokides Painters
c. 520 BCE | Belly Amphora | Staatliche Antikensammlungen, Munich
This prescribed "bilingual" vase shows the same scene - Herakles feasting in the presence of Athena - in both techniques on opposite sides. The black-figure side is by the Lysippides Painter; the red-figure side by the Andokides Painter.
Direct Comparison
Same composition allows direct comparison of techniques. Red-figure shows more anatomical detail, softer drapery folds, more nuanced facial features.
Transitional Period
Bilingual vases were made c. 530-500 BCE during the transition. Artists (or workshops) were exploring both techniques simultaneously.
Herakles wrestling the giant Antaios - a masterpiece of anatomical drawing by Euphronios. Image: Louvre / Wikimedia Commons
The Myth: Antaios was a Libyan giant, son of Earth (Gaia). He was invincible as long as he touched the ground - his mother renewed his strength. Herakles defeated him by lifting him off the ground and crushing him in mid-air.
Anatomical Revolution
Euphronios shows muscles straining in both figures - Herakles' arms bulge with effort; Antaios' body twists in agony. This detailed anatomical knowledge was impossible in black-figure.
Foreshortening
Antaios' torso twists three-dimensionally; his left arm recedes. Red-figure's brush technique allowed pioneers to experiment with spatial depth.
Expression
Antaios' face shows pain - mouth open, eye wide. Herakles shows determined concentration. Emotional intensity through facial detail.
Relief Line
Euphronios uses "relief line" - slightly raised slip - for key contours. This creates subtle shadows and emphasises important outlines.
Euphronios: Herakles and the Amazons
c. 510 BCE | Volute Krater | Arezzo Museum
The Myth: Herakles' ninth labour was to obtain the belt of Hippolyta, queen of the Amazons. This led to battle between the hero and the warrior women.
Extended Composition
The volute krater's wide body allows a panoramic battle scene. Multiple pairs of combatants create a dynamic, crowded frieze.
Amazon Iconography
Amazons wear distinctive costume - patterned trousers, tunics, Phrygian caps. They're shown as worthy opponents, not easily defeated.
Varied Poses
Euphronios shows figures from different angles - frontal, profile, three-quarter views. Each warrior has a distinct pose and action.
Named Figures
Inscriptions name individual Amazons - Andromache, Hippolyta. Giving enemies names and characterisation shows Greek interest in worthy opponents.
Euthymides: Hector Arming / Three Men Carousing
c. 510 BCE | Belly Amphora | Staatliche Antikensammlungen, Munich
Hector arming for battle - Euthymides' experiments with three-quarter views and foreshortening. Image: Wikimedia Commons
Euthymides was Euphronios' rival. On one of his vases he wrote: "As never Euphronios" - a direct challenge to his competitor's skill.
Side A: Hector Arming
Hector puts on his armour, assisted by his parents Priam and Hecuba. The scene shows the tension before the hero leaves for battle - he will die fighting Achilles.
Side B: Revelers
Three men carousing (komasts) in exaggerated poses - dancing, drunk, celebrating. A symposium scene contrasting with the heroic arming.
Foreshortening Experiments
The central reveler is shown from behind, his back turning towards us. This radical view demonstrates Euthymides' experimentation with three-dimensional representation.
"As Never Euphronios"
The boastful inscription claims Euphronios never achieved such foreshortening. The Pioneers were competitive artists pushing each other's limits.
Pioneer Achievement
The Pioneer Group transformed Greek vase painting. Their experiments with anatomy, foreshortening, and expression created a visual language that later painters would develop. They proved red-figure's superiority for naturalistic representation.
