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IV. Connoisseurship

Published online by Cambridge University Press:  05 February 2016

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Extract

In the summer of 1985 the centenary of the birth of Sir John Beazley was celebrated in London and Oxford. His influence on the study of Greek painted pottery, particularly Attic (Colour Plate 4A, etc.), has been second to none this century, and his death in 1970 left a gap that has been impossible to fill. Since his death, titles of lectures and conferences such as ‘Beazley and After’, ‘Vasenforschung nach Beazley’ and ‘In the Wake of Beazley’ show what a pivotal figure he was, and the 70s and 80s have proved interesting times for re-adjusting sights. As Martin Robertson remarked, we are living in ‘an age of uncertainty.

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Research Article
Information
New Surveys in the Classics , Volume 22: Greek Art , 1991 , pp. 42 - 55
Copyright
Copyright © The Classical Association 1991

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References

Notes

1. The Oxford meeting led to the publication of a small volume, Beazley and Oxford, in which, amongst some nostalgic pieces, Martin Robertson in ‘Beazley and Attic Vase Painting’ (pp. 19-30) turned his attention to present problems. The Brygos Tomb vases (Colour Plate 4A) were reassembled in the British Museum in time for the London meeting, thanks to the cooperation of Dr D. von Bothmer of the Metropolitan Museum of Art, New York, and Dr M. Maass of the Badisches Landesmuseum, Karlsruhe.

2. Robertson, M., ‘Beazley and After’, MJbK 3rd Series 27 (1976), 29–46 Google Scholar (quotation from 29); Vasenforschungen nach Beazley, Tübingen 24-25.11.1978, Schriften des deutschen Archäologen-Verbandes 4 (Mainz, 1978)Google Scholar; Hoffmann, H., ‘In the Wake of Beazley’, Hephaistos 1 (1979), 61–70 Google Scholar.

3. The Beazley Archive houses thousands of photographs which are constantly being added to, and 2000 drawings executed by Beazley himself. For information, see Vasenforschung (n. 2, above), 24-27 (D. C. Kurtz); AK 19 (1976), 120 and JHS 97 (1977), v. In The Berlin Painter (see n. 5, below), Kurtz publishes Beazley’s drawings of the painter’s work.

4. Computerized references, see AK 26 (1983), 106 and JHS 103 (1983), 160; and R. Glynn, ‘The Beazley Archive computer project’, Rouen Colloque, pp. 67-79. Beazley Addenda contains additions to Beazley, Attic Black-Figure Vase-Painters (Oxford, 1956)Google Scholar, Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963) and Paralipomena , ed. Robertson, M. (Oxford, 1971)Google Scholar.

5. Kurtz, D. C., The Berlin Painter (Oxford, 1983)Google Scholar; ‘Beazley and the Connoisseurship of Greek Vases’, Greek Vases II (1985), 237-50Google Scholar. In The Berlin Painter, p. 12, Kurtz points out that Beazley never once mentioned Morelli, the ‘father’ of the method Beazley adopted. See also M. Robertson in the introduction to Beazley Addenda. For a brief account of connoisseurship, see D. von Bothmer, ‘Greek Vase-painting: two hundred years of connoisseurship’, A masis Painter, Papers, pp. 184-204.

6. ‘The place of vase-painting in Greek art’, BSA 46 (1951), 151-9Google Scholar.

7. MJbK 3rd series 27 (1976), 35. Some of Beazley’s contributions to the pre-war series of German monographs under the general title of ‘Bilder Griechische Vasen’ which he and Paul Jacobsthal edited, have recently been reissued with Beazley’s original English texts: The Kleophrades Painter (Mainz, 1974), The Pan Painter (Mainz, 1974).

8. Quotations from Beazley and Oxford, p. 27, and MJbK 3rd series 27 (1976), 36.

9. See M. Robertson, ‘The State of Attic Vase-Painting in the Mid Sixth Century’, Amasis Painter, Papers, pp. 13-28.

10. The basic study of Geometric by painters and regions is Coldstream, N., Greek Geometric Pottery (London, 1968)Google Scholar.

11. Benson, J. L., Earlier Corinthian Workshops, A Survey of Corinthian Geometric and Protocorinthian Stylistic Groups (Allard Pierson Series, Scripta Minora 1, Amsterdam, 1989)Google Scholar. See also J. L. Benson’s editing of A. N. Stillwell’s volume on the Potters’ Quarter, The Potters’ Quarter: the Pottery, Corinth XV, part iii (Princeton, 1984). Amyx, D. A., Corinthian Vase-Painting of the Archaic Period, 3 vols. (California Studies in the History of Art XXV, University of California Press, 1988)Google Scholar.

12. Morris, S. P., The Black and White Style, Athens and Aegina in the Orientalizing Period (Yale University Press, 1984)Google Scholar. For a more general investigation of 7th century Attica and a characterization of the difference between Geometric and Protoattic artistic expression, see Osborne, R., ‘A crisis in archaeological history? The seventh century B.c. in Attica’, BSA 84 (1989), 297–322 Google Scholar. For the beginning of polychrome painting in the seventh century, see Schaus, G. P., ‘The beginning of Greek polychrome painting’, JHS 108 (1988), 107-17CrossRefGoogle Scholar, pls. 3-4.

13. The Northampton Group: Langlotz, E., Studien zur nordostgriechischen Kunst (Mainz, 1975)Google Scholar; Walter-Karydi, E., CV A Munich 6 (28), 42-6Google Scholar; Boardman, J., CV A Castle Ashby (15), 1–2 Google Scholar; Simon, E. and M. and Hirmer, M., Die griechischen Vasen (Munich, 1981), pp. 61-2Google Scholar, pls. XVI-XVII.

14. Cook, R. M., Clazomenian Sarcophagi (Kerameus 3, Mainz, 1981)Google Scholar and ‘A Clazomenian sarcophagus in Geneva’, AK 30 (1987), 156-7Google Scholar, pl. 22. And see Kirchner, E., ‘Zum Bildprogramm Klazomenischer Sarkophage’, JDAI 102 (1987), 119-61Google Scholar.

15. Hemelrijk, J. M., Caeretan Hydriai (Kerameus 5, Mainz, 1984)Google Scholar. And see Greek Vases from the Hirschmann Collection, ed. Bloesch, H. (Zurich, 1982), nos. 10–12 Google Scholar; Isler, H. P., ‘Drei neue Gefässe aus der Werkstatt der Caeretaner Hydrien’, JDAI 98 (1983), 15–56 Google Scholar. For the hero of Colour Plate 4B as Herakles, see Boardman, J., ‘Very like a whale - classical sea monsters’, Monsters and Demons in the Ancient and Medieval Worlds. Papers presented in honor of Edith Porada, edd. Farkas, A. E., Harper, P. O. and Harrison, E. B. (Mainz, 1987), pp. 73–84 Google Scholar, pls. 21-6.

16. Stibbe, C. M., Lakonische Vasenmaler des sechsten Jahrhunderts v. Chr.(Amsterdam-London, 1972)Google Scholar.

17. Spivey, N., The Micali Painter and his Followers (Oxford, 1987)Google Scholar (quotations from p. 49). There was also an exhibition at the Villa Giulia in Rome (and a catalogue) to celebrate the painter: Un artista etrusco e il suo mondo: Il pittore di Micali (Rome, 1988). See now Cook, R. M., ‘East Greek influences on Etruscan vase-painting’, La Parola del Passato 246 (1989), 161-73Google Scholar.

18. Boardman, J., Athenian Black Figure Vases, a handbook (London, 1974)Google Scholar. Note that the word ‘Athenian’ is used, not ‘Attic’.

19. Boardman, J., Athenian Red Figure Vases, the Archaic Period, a handbook (London, 1975)Google Scholar.

20. Boardman, J., Athenian Red Figure Vases, the Classical Period, a handbook (London, 1989)Google Scholar. Folsom’s, R. two volumes, Attic black-figured pottery (Park Ridge, 1975)Google Scholar and Attic red-figured pottery (Park Ridge, 1976) are much less helpful and accurate than Boardman’s.

21. The Development of Attic Black-figure, 2nd ed., revised and edited by Bothmer, D. von and Moore, M. B. (Berkeley, 1986)Google Scholar.

22. ‘Attic Black-figure; a sketch’, now in Beazley Lectures, pp. 1-25, 103-6, pls. 1-16.

23. Beazley Addenda, 2nd ed., pp. 1-148. Moore, M. B. and Philippides, M. Z. P., Attic Black-Figured Pottery (The Athenian Agora, vol. 23, Princeton, 1986)Google Scholar looks at shapes and painters. J. R. Mertens, ‘Some thoughts on Attic vase-painting of the 6th cent, B.C.’, Copenhagen Symposium, pp. 414-34, has a close look at sixth century Attic vase-painting.

24. Bakir, G., Sophilos: Ein Beitrag zu seinem Stil (Keramikforschungen 4, Mainz, 1981)Google Scholar.

25. Williams, Dyfri, ‘Sophilos in the British Museum’, Greek Vases I (1983), 9–34 Google Scholar.

26. A. F. Stewart, ‘Stesichoros and the François Vase’, Moon AGAI, pp. 53-74. Against the connection with Stesichoros, see March, J. R., The Creative Poet (BICS Supplementary Volume 49, 1987), 4, n. 12 Google Scholar.

27. Cristofani, M., Materiali per servire alla storia del Vaso Francois, Bollettino d’Arte Serie Speciale 1 (Rome, 1980)Google Scholar.

28. Tiverios, M., (Athens, 1976)Google Scholar. See also Moore, M. B., ‘Lydos and the Gigantomachy’, AJA 83 (1979), 79–99 CrossRefGoogle Scholar, pls. 11-15.

29. On the dating and provenance of Tyrrhenian amphorae, see Carpenter, T. H., ‘On the dating of the Tyrrhenian Group’, OJA 2 (1983), 279–293 Google Scholar, and ‘The Tyrrhenian Group: problems of provenance’, 3 (1984), 45-56. For a detailed investigation of the relation between Lydos and the painters of Tyrrhenian amphorae, see Shapiro, H. A., ‘Two black-figure neck-amphorae in the J. Paul Getty Museum: problems of workshop and iconography’, Greek Vases IV (1989), 11–32 Google Scholar.

30. Brijder, H. A. G., Siana Cups I and Komast Cups (Amsterdam, 1983)Google Scholar.

31. Exekias: M. Robertson, ‘A new plaque-fragment by Exekias’, ArchEph 1978, 91-4, pl. 33; Boardman, J., ‘Exekias’, AJA 82 (1978), 11–25 CrossRefGoogle Scholar; Moore, M. B., ‘Exekias and Tela-monian Ajax’, AJA 84 (1980), 417-34CrossRefGoogle Scholar; Shapiro, H. A., ‘Exekias, Ajax and Salamis: a further note’, AJA 85 (1981), 173-5CrossRefGoogle Scholar; Moore, M. B., ‘The death of Pedasos’, AJA 86 (1982), 578–81CrossRefGoogle Scholar, pl. 76; ‘Exekias and the harnessing of a chariot team’, AK 29 (1986), 107–114 Google Scholar, pl. 19; ‘The Amasis Painter and Exekias: approaches to narrative’, Amasis Painter, Papers, pp. 153-167.

32. Mommsen, H., Der Affekter (Kerameus 1, Mainz, 1975)Google Scholar.

33. Böhr, E., Der Schaukelmaler (Kerameus 4, Mainz, 1982)Google Scholar. See now E. Bohr ‘Weitere Werke des Schaukelmalers’, Praestant Interna, 213-20, pls. 44-6 and Bothmer’s, D. von review, AJA 89 (1985), 362 Google Scholar.

34. Amasis Painter, Catalogue.

35. Bothmer, D. von, ‘Ἄμα σις, Ἀμάσιδος’, GettyMJ 9 (1981), 1–4 Google Scholar.

36. Amasis Painter, Papers.

37. E.g. Bothmer, D. von, ‘Elbows Out’, RA 1969, 3–15 Google Scholar; Moignard, E., ‘The Acheloos Painter and his relations’, BSA 77 (1982), 201-11Google Scholar, pls. 7-14; W. G. Moon, ‘The Priam Painter: some iconographie and stylistic considerations’, Moon AGAI, pp. 97-118; Greek Vase-Painting in Midwestern Collections , ed. Moon, W. G. (Chicago, 1979), pp. 50–56 Google Scholar (The Painter of Berlin 1686). See now a new Kerameus volume, Burow, J., Der Antimenesmaler (Kerameus 7, Mainz, 1990)Google Scholar. When will the major figures be introduced?

For work on the Panathenaics, see Frei, J., Panathenaic Prize Amphoras (Athens, 1973)Google Scholar; Brandt, J. R., ‘Archaeologica Panathenaica I: Panathenaic prize amphorae from the sixth century B.c.’, Acta ad archaeologiam et artium historiam pertinentia, Institutum Romanum Norvegiae et Oslo, Universitëtsforl 8 (1978), 1–23 Google Scholar; Eschbach, N., Statuen auf Panathenäischen Preisamphoren des 4. Jhs v. Chr. (Mainz, 1985)Google Scholar. See also n. 46 below.

38. On Psiax, see Mertens, J. L., ‘Some new vases by Psiax’, AK 22 (1979), 22–37 Google Scholar, pls. 9-14, and on the continuity between black- and red-figure, Copenhagen Symposium, pp. 414-34. And see now Cohen, B., ‘Oddities of very early red-figure and a new fragment at the Getty’, Greek Vases IV (1989), 73–82 Google Scholar.

39. D. von Bothmer, ‘Der Euphronioskrater in New York’, AA 1976, 485-512, and ‘The Death of Sarpedon’, The Greek Vase, ed. Hyatt, S. L. (Hudson Valley, 1981), pp. 63–80 Google Scholar, 156-58, figs. 65-87. See also ‘Euphronios and Memnon? Observations on a red-figured fragment’, MMJ 22 (1987), 5-11.

40. Ohly-Dumm, M., ‘Euphroniosschale und Smikrosscherbe’, MJbK 25 (1974), 7–26 Google Scholar; Robertson, M., ‘Euphronios at the Getty’, GettyMJ 9 (1981), 23–34 Google Scholar, esp. 29-34, and Shapiro, H. A., ‘Herakles and Kyknos’, AJA 88 (1984), 523-9CrossRefGoogle Scholar, pls. 68-9.

41. Ohly-Dumm, M., ‘Medeas Widderzauber auf einer Schale aus der Werkstatt des Euphronios’, GettyMJ 9 (1981), 5–21 Google Scholar; Sparkes, B. A., ‘Aspects of Onesimos’, Greek Art: Archaic into Classical, a symposium held at the University of Cincinnati April 2-3, 1982, ed. Boulter, C. G. (Leiden, 1985), pp. 18–39 Google Scholar, pls. 19-36. See now L’arte di Eufronio (Florence, 1990)

42. M. Ohly-Dumm, ‘Sosias und Euthymides’, Amsterdam Symposium, 165-72; Pinney, G. F., ‘The nonage of the Berlin Painter, AJA 85 (1981), 145-58CrossRefGoogle Scholar, pls. 29-36; Weiss, C., ‘Phintias in Malibu und Karlsruhe’, Greek Vases IV (1989), 83–94 Google Scholar.

43. Kurtz, D. C., The Berlin Painter (Oxford, 1983)Google Scholar. See also Robertson, M., ‘A neck-amphora by the Berlin Painter’, MJbK 31 (1980), 7–12 Google Scholar and ‘The Berlin Painter at the Getty and some others’, Greek Vases I (1983), 55–72 Google Scholar.

44. J. D. Beazley, ‘The Berlin Painter’, now in Beazley Lectures, pp. 66-77, 117-8, pls. 38-47. Kurtz, D. C., ‘Gorgos’ cup: an essay in connoisseurship, JHS 103 (1983), 68–86 CrossRefGoogle Scholar, pls. 3-9.

45. Sourvinou-Inwood, C., ‘Who was the teacher of the Pan Painter?’, JHS 95 (1975) 107–121 CrossRefGoogle Scholar, pls. 9-11. See also Robertson, M., ‘Two pelikai by the Pan Painter’, Greek Vases III (1986), 71–90 Google Scholar.

46. Greifenhagen, A., Neue Fragmente des Kleophradesmalers (SBer. Heidelberg, 1972, 4)Google Scholar; Boardman, J., ‘The Kleophrades Painter’s cup in London’, GettyMJ 1 (1974), 7–14 Google Scholar and ‘The Kleophrades Painter at Troy’, AK 19 (1976), 3–18 Google Scholar, pls. 1-3; Robertson, M., ‘An unrecognized cup by the Kleophrades Painter?’, ΣΤΗΛΗ, (Athens, 1980), pp. 125-9Google Scholar, pls. 43-4 and ‘Fragments of a dinos and a cup fragment by the Kleophrades Painter’, Greek Vases 1 (1983), 51—4Google Scholar; Matheson, S. B., ‘Panathenaic amphorae by the Kleophrades Painter’, Greek Vases IV (1989), 95–112 Google Scholar. The signature ‘Epiktetos’ is now shown to be false, see J. Boardman and U. Gehrig, ‘Epiktetos II R.I.P.’, AA 1981,329-32.

47. Onesimos: Williams, D., ‘The Ilioupersis cup in Berlin and the Vatican’, JBerlMuseum 18 (1976), 9–23 Google Scholar; ‘Ajax, Odysseus and the arms of Achilles’, AK 23 (1980), 137-45Google Scholar, pls. 33-6: and see n. 41 above. Douris: Buitron, D., Douris (University Microfilms, Ann Arbor, Michigan, 1976)Google Scholar. The Brygos Painter: Wegner, M., Brygosmaler (Berlin, 1973)Google Scholar; Cambitoglou, A., The Brygos Painter (Sydney University Press, 1968)Google Scholar; Williams, D., ‘An oinochoe in the British Museum and the Brygos Painter’s work on a white ground), JBerlMuseum 22 (1982), 17–40 Google Scholar. Makrón: D. von Bothmer, ‘Notes on Makron’, Eye of Greece, pp. 29-52, pls. 7-13, and Beazley’s previously unpublished lecture, now in Beazley Lectures, pp. 84-97, 118-20, pls. 65-80. The Foundry Painter: J. D. Beazley, ‘A Greek Realist’, now in Beazley Lectures, pp. 78-83, 118, pls. 48-64.

48. Mertens, J. R., Attic White-Ground: its development on shapes other than lekythoi (New York, 1977)Google Scholar and ‘Attic white-ground cups: a special class of vases’, MMJ 9 (1974), 91–108 Google Scholar; Wehgartner, I., Attisch Weissgrundige Keramik (Mainz, 1983)Google Scholar. For the Delphi Apollo cup, see Metzger, H., , BCH Supplement 4 (1977), 421-8CrossRefGoogle Scholar.

49. Burn, L., ‘Honey pots: three white-ground cups by the Sotades Painter’, AK 28 (1985), 93–105 Google Scholar, pls. 23-27 and colour pi. A; Griffiths, A., ‘“What leaf-fringed legend ... ?” A cup by the Sotades Painter in London’, JHS 106 (1986), 58–70 CrossRefGoogle Scholar, pls. 1-3; Collinge, A., ‘Aristaios, or his father-in-law’, AK 31 (1988), 9–20 Google Scholar, pl. 3.

50. J. D. Beazley, ‘Attic White Lekythoi’, now in Beazley Lectures, pp. 26-38, 107-9, pls. 17-24.

51. Kurtz, D. C., Athenian White Lekythoi, Patterns and Painters (Oxford, 1975)Google Scholar. See also Wehgartner, I., Ein Grabbild des Achilleusmalers (Berlin, 1985)Google Scholar for an early and innovatory lekythos by the Achilles Painter. See now Kurtz, D. C., ‘Two Athenian white-ground lekvthoi’, Greek Vases IV (1989), 113-30Google Scholar.

52. Boardman, J., Athenian Red Figure Vases, the Classical Period, a handbook (London, 1989)Google Scholar.

53. Barron, J. P., ‘New light on old walls: the murals of the Theseion’, JHS 92 (1972), 20–45 CrossRefGoogle Scholar, pls. 1-7; Woodford, S., ‘More light on old walls: the Theseus of the Centauromachy in the Theseion’, JHS 94 (1974), 158-65CrossRefGoogle Scholar, pls. 14-15; Stansbury-O’Donnell, M. D., ‘Polygnotos’ Iliupersis: a new reconstruction’, AJA 93 (1989), 203-15CrossRefGoogle Scholar. On the Niobid Painter, see Prange, M., Der Niobidenmaler und seine Werkstatt (Frankfurt, 1989)Google Scholar.

54. Lezzi-Hafter, A., Der Schuwalowmaler. Ein Kannenwerkstatt der Parthenonzeit (Kerameus 2, Mainz, 1982)Google Scholar.

55. Lezzi-Hafter, A., Der Eretria-maler, Werke und Weggefährten (Kerameus 6, Mainz, 1988)Google Scholar. See also Oakley, J. H., The Phiale Painter (Kerameus 8, Mainz, 1990)Google Scholar.

56. Burn, L., The Meidias Painter (Oxford, 1987)Google Scholar. See also True, M., ‘A new Meidian kylix’, Greek Vases II (1985), 79–88 Google Scholar. New volute-krater, GettyMJ 16 (1988), 143 Google Scholar, no. 7. For good comments on late fifth-century work, see B. B. Shefton, ‘The krater from Baksy’, Eye of Greece, pp. 149-81. Dr Burn, who made the attribution of Fig 22 to the Meleager Painter, is to publish a study of it shortly. I am grateful to her for her cooperation.

57. Knigge, U., ‘Aison, der Meidiasmaler? Zu einer rotfigurigen Oinochoe aus dem Ker-ameikos’, AM 90 (1975), 123-43Google Scholar, pls. 43-51.

58. Dr Antoine Lebel has recently worked fruitfully on the fourth-century painters for an Oxford DPhil. For fourth-century tomb-painting, see Petsas, P., ‘O Τάφος τών AevxaSlwv (Athens, 1966)Google Scholar and Andronikos, M., Vergina (Athens, 1984)Google Scholar.

59. Trendall, A. D., Red Figure Vases of South Italy and Sicily, a handbook (Thames and Hudson, 1989)Google Scholar. The work of M. Schmidt and A. Cambitoglou is also of prime importance. See also the exhibition catalogue The Art of South Italy: Vases from Magna Graecia, ed. Mayo, M. E. (Virginia, 1982)Google Scholar.

60. Laconia: McPhee, I., ‘Laconian red-figure from the British excavations in Sparta’, BSA 81 (1986), 153-64Google Scholar, pls. 3-7, and 153, n. 6 for other local red-figure. Corinth: Herbert, S., Corinth, American School Excavations VII part iv The red-figure pottery (Princeton, 1977)Google Scholar and McPhee, I., ‘Local red-figure from Corinth 1973-1980’, Hesperia 52 (1983), 137-53CrossRefGoogle Scholar, pls. 33-41. Chalcidice: McPhee, I., ‘Some red-figure vase-painters of the Chalcidice’, BSA 76 (1981), 297–308 Google Scholar, pls. 49-53.

61. For a general picture book of Etruscan pottery, see Martelli, M., La ceramica degli Etruschi, la pittura vascolare (Novara, 1987)Google Scholar.

62. Beazley Addenda, xi-xviii (1st edition) and xii-xx (2nd edition). Beazley’s talk of ‘follower’, ‘school’, ‘influence’ on the basis of a Renaissance model has been decried as converting ‘what had been the subject of antiquarian interest into high status art history’ (M. Beard, TLS 12.9.86,1013).

63. Beazley Addenda (2nd edition), pp. 400-406.

64. J. D. Beazley, ‘Potter and Painter in Ancient Athens’, now in Beazley Lectures, pp. 39-59,109-16, pls. 25-32.

65. Cook, R. M., ‘“Epoiesen” on Greek vases’, JHS 91 (1971), 137-8CrossRefGoogle Scholar; Robertson, M., ‘“Epoiesen” on Greek vases: other considerations’, JHS 92 (1972), 189-83CrossRefGoogle Scholar; Eisman, M. M., ‘A further note on ΕΠΟΙΕΣΕΝ signatures’, JHS 94 (1974), 172 CrossRefGoogle Scholar. And see Immerwahr, H., Attic Script (Oxford, 1990)Google Scholar.

66. Vickers, M. J., ‘Artful crafts: the influence of metalwork on Athenian painted pottery’, JHS 105 (1985), 108-28CrossRefGoogle Scholar, pls. 4-6.

67. Payne, H. G. G., Necrocorinthia (Oxford, 1931), 322 Google Scholar.

68. For a severe critique, see Bruneau, P., ‘Situation méthodologique de l’histoire de l’art antique’, L’antiquité classique 44 (1975), 425-87CrossRefGoogle Scholar. Quotation from Pinney, G. F., AJA 88 (1984), 420 CrossRefGoogle Scholar.