c. 540-530 BCE | Neck Amphora | Bibliotheque Nationale, Paris
Dionysiac scene by the Amasis Painter - showing his characteristic refined black-figure style. Image: Wikimedia Commons
The Amasis Painter (active c. 560-525 BCE) was named after the potter Amasis who signed many of his vases. He represents the finest achievement of mature black-figure painting.
Dionysiac Theme
Dionysus stands with maenads (female followers) and satyrs. The god holds a kantharos (drinking cup) and vine. His followers dance ecstatically.
Refined Detail
Exquisite incision work - patterns on drapery, animal skins, vine leaves. The Amasis Painter brings miniaturist precision to black-figure.
Humour and Life
His scenes often show lively, slightly humorous action. Satyrs cavort; maenads dance with abandon. A lighter touch than later heroic scenes.
Decorative Elegance
Strong sense of decorative pattern. Figures arranged rhythmically; ornamental frames complement the scenes. Art as beautiful object.
The Pan Painter (active c. 480-450 BCE) was named after a bell krater showing Pan. He's known for dramatic, dynamic scenes with a distinctive personal style - sometimes described as "Mannerist" for his elongated figures and exaggerated poses.
Working during and after the Persian Wars, his art reflects the confidence and energy of early Classical Athens.
Boreas Pursuing Oreithyia
c. 470 BCE | Oinochoe | British Museum, London
Boreas (the North Wind) pursuing the Athenian princess Oreithyia. Image: British Museum / Wikimedia Commons
The Myth: Boreas, god of the North Wind, fell in love with Oreithyia, daughter of the Athenian king Erechtheus. He carried her off to Thrace. Their descendants (the Boreads) helped the Argonauts.
Dynamic Pursuit
Boreas flies with wild hair streaming; Oreithyia flees in terror. The contrast between the god's power and the maiden's vulnerability creates drama.
Movement
Drapery billows; hair flies; limbs extend. The Pan Painter excels at showing rapid movement - his figures seem caught in mid-action.
Political Resonance
After the Persian Wars, Boreas was honoured by Athens - he allegedly destroyed part of the Persian fleet with storms. This Athenian myth gained new significance.
Pan Painter: Perseus and Medusa
c. 470-460 BCE | Hydria | British Museum, London
Perseus and the Gorgon - another masterpiece by the Pan Painter showing his dramatic style. Image: Wikimedia Commons
The Myth: Perseus was sent to fetch Medusa's head. With divine help (winged sandals, cap of invisibility, magical bag from nymphs; curved sword from Hermes; mirror-shield from Athena), he approached her while she slept and beheaded her.
The Moment
Perseus runs away, head in hand, not looking back (meeting Medusa's gaze would turn him to stone). The decapitated body falls. Athena stands by.
Medusa's Pathos
Unusually, Medusa is shown sympathetically - her headless body slumps gracefully. She's beautiful rather than monstrous, creating unexpected pathos.
Elongated Figures
The Pan Painter's characteristic elongated proportions - figures seem stretched, elegant, almost weightless. This "Mannerist" tendency distinguishes him from other painters.
White-Ground Elements
Some details use white-ground technique (white slip instead of black). This creates delicate effects, especially for female skin.
Greek Vase Painting: Summary
Through these four lessons, we've traced the development of Greek vase painting from early black-figure through mature red-figure:
Early Black-Figure (c. 600-550 BCE)
Gorgon Painter, Sophilos, Kleitias: Establishing narrative traditions, decorative frieze compositions, mythological subject matter. Influenced by Corinthian pottery and Near Eastern art.
Mature Black-Figure (c. 550-520 BCE)
Amasis Painter, Exekias: Technical mastery of incision; psychological depth; innovative compositions. Exekias shows what black-figure could achieve at its best.
Kleophrades Painter, Berlin Painter, Pan Painter: Mature red-figure with diverse approaches - dramatic narrative vs elegant isolation vs dynamic Mannerism.
Key Development: Black-Figure to Red-Figure
Feature
Black-Figure
Red-Figure
Technique
Black figures, incised detail
Red figures, painted detail
Line
Scratched, angular
Painted, flowing
Anatomy
Stylised, limited
Naturalistic, detailed
Space
Flat, decorative
Three-dimensional, foreshortened
Final Essay Point
Greek vase painting parallels the development in sculpture - from Archaic stylisation to Classical naturalism. The same artistic drive towards representing the human form realistically appears in both media, reflecting broader Greek cultural values.
