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Volute Krater by the Berlin Painter

5/25/2020

3 Comments

 
Volute Krater by the Berlin Painter in the British Museum
Volute Krater by the Berlin Painter in the British Museum
British Museum, CC BY-NC-SA 4.0
Where: Room 15 of Level 0 of the British Museum
When: Probably between 490 BC and 460 BC
What do you see? A monumental vase with two mythological scenes painted on the upper part, the neck. The vase is a masterpiece of the red-figure technique and one of the iconic examples of Athenian pottery. The shape of this vase is called a volute krater (named after the spiral handles resembling the volutes of the Ionian columns).

  • Side A – Achilles and Memnon: On one side is the fight between Achilles and the Ethiopian king, Memnon—the brother of Priam, the last king of Troy. Watching it are Thetis (Achilles’ mother, goddess of water) and Eos (Memnon’s mother, goddess of the dawn). Achilles is charging at Memnon from the left -- traditionally the victor’s side -- holding the spear made of Pelian ash (it came from the ash tree at Mount Pelion).

    Memnon defends himself with a sword in his right hand while another one is at his left side (which is a peculiar detail of the image). Eos, at distance behind him, has stretched out her arms as if pulling her hair out; her lips are open in a cry as she is about to lose her son. 
Side A of the Volute Krater by the Berlin Painter in the British Museum
Side A of the Volute Krater - British Museum, CC BY-NC-SA 4.0
  • Side B – Achilles and Hector: On the other side of the vase is another fight. This one is between Achilles (on the left) and Hector (on the right). On the far left, is Athena, the divine patroness of Achilles, the goddess of war and guardian of Athens. On the far right, behind Hector, is Apollo, who fought on the side of the Trojans. Notably, Apollo seems to be moving away from his protégée, and his raised hand holding the arrow seems to be the gesture of farewell. He knew Hector was doomed to die.

    ​Although Hector, the greatest fighter of Troy, will lose this fight to Achilles, soon after that Apollo will provide vengeance. He will guide the arrow shot by Paris to Achilles’ heel causing his death. Thus, the farewell was real, the arrow was symbolic. Apollo, indeed, was abandoning Hector, but the arrow in his hand foretold the way Hector’s defeater would soon lose his life.
Side B of the Volute Krater by the Berlin Painter in the British Museum
Side B of the Volute Krater - British Museum, CC BY-NC-SA 4.0
  • Rest of the vase: The entire narrative is contained in one circular frieze, which the painter placed on the lower portion of the neck of the vase. The remaining part of the vessel, besides the complex decorative band patterns, remains black. The decorative bands separating the scenes from the rest of the vessel are the meticulously reoccurring palmettes and the buds of lotus. They form a chain on the upper portion of the neck. The line with tongue pattern adorns the narrow area above the foot of the vase.

    The lip of the vase features the signature decorative band pattern of the Berlin Painter, the ULFA pattern (from “upper, lower, facing alternately”). It is a complex combination of a stopt key alternating with the saltire squares (sometimes also with crosses, or meanders). The krater’s handles, beautifully ornamented with the black ivy pattern, complete the details.

    The overall effect is the magnificence of the imagery and the technique with which it was achieved. It is the vessel of depth and mystery, the meeting place of the two worlds: the divine is intertwined with the mortal. 
​
Background: This vase is one of the early works of the Berlin Painter. Carol Moon Cardon situates it in the second group of vases from his early period, falling between 500-490 B.C.  The timeframes are often tentative, depending on the source or criteria by which scholars assign them. More generally, its place in art history falls into the Late Archaic period (circa 500 to 470 B.C.) There are four preserved volute kraters by the Berlin Painter, all in the red-figure technique.
 
The London krater is unique for a variety of reasons; its architectural design resembling the temple is among the most prominent of those. The fact that the painter decided to leave the entire belly of the vase black while placing the narrative and ornamentation on its extremes speaks of his highly sophisticated approach to design and the interpretative role he attached to imagery. 
​Red-figure technique: The red-figure painting technique appeared in Athens around 520 B.C. in what is known as the Pioneers’ Group—possibly the longest lasting and most influential red-figure workshop known. The Berlin Painter was possibly the student of one of the three most important of the Pioneers, Phintias. Prior to that, until about the second half of the sixth century B.C., the world of the vase painting was dominated by the black-figure technique.
 
The red-figure technique was actually simpler than the black-figure technique. The main principle in both was the skillful regulation of the flame and oxygen flow through the oven where the vases were fired to assure the proper oxidization of iron, which, in turn, allowed the painter to achieve the desired color. The black-figure technique rested, in principle, on adding varnish to the pre-contoured shapes on the surface of the vase to create fully developed objects and figures, which turned black upon firing; the red-figure technique was the reversal of the process.
 
Who is the Berlin Painter? Very little is known about the Berlin Painter in terms of the biographical information. It was not common for the vase painters to sign their names at that time. Interestingly, the Berlin Painter inscribed the names of his characters on the London krater. And yet, we do not even know his real name since none of the works attributed to him indicates it.
 
The nickname “The Berlin Painter” was given to him by the prolific scholar, Sir John Beazley, who attributed the makers of some 30 thousand items of Athenian ceramics. The nickname is based on the amphora located in Antikensammlung in Berlin, excavated in the Etruscan city, Vulci. This amphora served as the “mother-work” of the Berlin Painter--the vase to which other found works and fragments were compared in terms of stylistic details, resulting in matching them to the hands of one maker. 
 
Some of the stylistic details of the Berlin Painter, which revolutionized the red-figure technique, include:
  • His design. He avoided the “crowded” scenes on vases and often placed just one figure per side,
  • His style included a distinct use of the relief lines to depict certain features (like the nose, eye, fold of the drapery, but seldom to define contours). Sir Beazley described them almost poetically as “a wiry line that stands up from the surface of the vase, can be felt with finger, and looked at closely is seen to be composed of two ridges that stand up with a furrow between…”
  • The diluted glaze the Berlin Painter frequently relied on to render musculature in general).
  • There are also many features of detailed human anatomy, like ankles, chest, abdominals, which the Berlin Painter rendered in a distinct manner.
  • He "grounded" the figures; the characters on the Berlin Painter's vases were no longer "floating," but felt connected to some foundation, even if invisible. Sometimes it was an actual line, and sometimes a boundary of different dimension. ​
 
What we know about him as a person, we can only guess from the themes he chose for his imagery; he was fond of animals and nature, probably liked poetry and city festivals and, of course, gave homage to the gods. He avoided the otherwise common themes of bloody combats and gory scenes, or those of debauchery and drunkenness. Even his depictions of satyrs seemed to emphasize their human nature over the animalistic. The Berlin Painter just seems like a mellow, content man.
 
Other works by The Berlin Painter: In 1911, Beazley assigned 38 vases to the Berlin Painter (“master of the Berlin amphora”) and outlined the characteristics of the Berlin Painter’s renderings. His drawing style was described in 1922 and by 1925 there were already 148 vases attributed to the artist. As of today, over 400 works of pottery and fragments are attributed to the Berlin Painter. Because of their masterful artistry, they are highly appreciated and sought by the world’s museums. In the Gregorian Etruscan Museum in the Vatican Museums, there is the beautiful hydria with Apollo sitting on the winged tripod, playing the lyre, as two dolphins below make their way back into waters.
 
The Metropolitan Museum of Art has 13 vessels. Among them is another hydria, featuring Achilles slaying Penthesilea, the queen of the Amazons. This museum has arguably one of the most exquisite of all vases by the Berlin Painter, the type C amphora with the beautiful walking-singing citharode—youth playing the kithara—on one side and the contest judge on the other side. The Louvre has the largest collection of his vases, for a total of 36. The only cup known to be painted by this artist (although debates over the attribution continue) is in the Agora Museum in Athens. It is called the Gorgos Cup, after the potter Gorgos, who provided the vessel to be decorated. The name "Gorgos" as the maker of the vessel is inscribed on the cup. While some painters were also potters of the vases they worked with (and it is possible the Berlin Painter was among them in some instances), the transition from potter to painter was not at all automatic.
 
There are also the Panathenaic amphorae painted by the Berlin Painter. Those were the vases that were filled with olive oil and given as prizes to winners of the Panathenaic Games. They were always traditionally done in the black-figure technique. Only highly esteemed painters were commissioned to provide those. Out of 21 vases painted by the Berlin Painter in the black-figure technique, possibly only two are not the Panathenaic amphorae (a fragmented amphora Type A in New York and a hydria in Frankfurt).

While vases, in general, were popular in antiquity and were given as burial offerings to go with the departed close ones, only the wealthy could afford to have a vase decorated by, say, the Berlin Painter or other artists of high esteem. The amphorae given to victors of the games were a sign of the prestige of the artist whom they were commissioned to.
Terracotta Amphora - Type C - by the Berlin Painter in the Metropolitan Museum of Art
Terracotta Amphora - Type C - by the Berlin Painter in the Metropolitan Museum of Art
Attic Red-Figure Bell-Krater by the Berlin Painter in the Louvre
Attic Red-Figure Bell-Krater by the Berlin Painter
​Legacy: There were three immediate students of the Berlin Painter, who were all very important and painted a large number of vessels: The Providence Painter, Hermonax and The Achilles Painter. The last of them, along with his own student, the Phiale Painter, closed the workshop of the Berlin Painter in 425. Although the workshop closed, many features of the Berlin Painter’s innovative style remained with generations of vase painters. 
 
The students of the Berlin Painter and other followers who came even later into the vase painting world (the Harrow Painter, the Tithonos Painter, the Painter of the Yale Lekythos, Alkimachos Painter, just to name a few) carried on the legacy of the master by either adopting his ornamentation style, features of the design (the “less is more” on the vase), or took up shapes which were not popular among the red-figure artists before the Berlin Painter.
 
The Berlin Painter was not only the master of the already existing technique but developed it as well as expanded the repertoire of shapes which began to be painted in the red-figure technique. He was not just the master of his technique but a thinker and inventor.

Written by Xavier Talvela
 
References:
  • Boardman, J. 1975. Athenian Red Figure Vases. The Archaic Period. New York: Oxford University Press. 
  • British Museum - Volute Krater
  • Cardon C. 1977. “The Berlin Painter and His School.” Ph.D. diss., New York University.
  • Kurtz, D.C. 1983. “Gorgos’ Cup: An Essay in Connoisseurship.” JHS 103: 68-86.
  • Louvre - Attic Red-Figure Bell-Krater
  • Metropolitan Museum of Art - Terracotta amphora (jar)
  • Moore, M. 2006. “Satyrs by the Berlin Painter and New Interpretation of His Namepiece.” AntK 49: 17-28.
  • Padgett, M.J. 2017. The Berlin Painter and His World. Princeton University Art Museum.
  • Talvela, X. 2019. “The Berlin Painter: Metaphysics of Vase Painting and Reattribution of the Gorgos Cup.” M.A. Thesis, Wayne State University. 
​
3 Comments
Carol Morse
6/8/2020 01:48:22 pm

Very interesting explanation of this wonderful Decorative pottery. So different from the others.
I really wonder what made the Berlin painter change the composition so drastically? As you say...inventive and innovative! Did others follow him? Thank you for illuminating the story behind piece!
Carol

Reply
Xavier Talvela link
6/16/2020 03:07:27 pm

Hello Carol,

Thanks for your interest in the Berlin Painter.

The answer to your question has to be at least in part speculative, if not philosophical. It seems fair to say that the Berlin Painter had experiential personality and was in continuous pursuit of ways to raise above this, which had been known already. We remember that he came from the Pioneers’ background—the painters who already had the adventurist approach to vase painting (hence the new red-figure technique). In a way, the Berlin Painter seems like someone for whom that still was not enough, someone who enjoyed going a little against the grain, test new territories and challenge the existing ones.

As evidence of the above, I am mindful of the broad range of vase shapes he had worked with. Although the red-figure technique was there already, it was tried with select shapes only. The Berlin Painter was the first major painter to apply the red-figure technique to smaller Attic vases and shapes which had not been popular in the new technique.

There are 12 preserved oinochoai (or fragments) by him. His doubleens are the earliest of this shape in the red figure technique. His hydriai (in Havana, Aberdeen and London) were the first cases of this shape being done in technique other than black-figure. Some of the finest of his works are the bell-kraters, which might well have been his invention as shape. To touch already on your other question, the Pan Painter has at least two (possibly three) bell-kraters on record and the Villa Giulia Painter, 12, so the trend which the Berlin Painter tested seems to have picked up the pace among some contemporaries and the younger generation of painters.

From other examples of how our painter exhibited his invention, creativity and experiential personality: He was the first vase artist to supply Nike with a musical instrument. While Homer was canonical for the depiction of mythological scenes, he relied heavily on the non-Homeric sources. The combat between Achilles and Hector on his stamnos in Munich and the same combat depicted on the volute krater in London are probably the only two Trojan scenes which he based on the passage from the Iliad on record.

There are 88 records when a woman is the subject on his works. For comparison, his greatest contemporary, the Kleophrades Painter, has depicted women twenty-seven times that we know of. But the Berlin Painter’s immediate artistic heir, the Providence Painter, has already 108 records of a woman painted on a vessel and three cases of more than one woman.

His influence was profound both in style and design. The lekythos in Malibu by the Eucharides Painter, showing the lyre-holding youth, has the application of the dilute gold gloss and the black shoulder—both very much the characteristics of the Berlin Painter’s style.
A pair of oinochoai in Tampa by the Harrow Painter (prolific himself, with over 100 vases on record) is said by Beazley to be not just imitations but “copies” of two vases by the Berlin Painter. They show a single figure against the black background—so familiar to us.

The drapery style—stacked folds on Eon’s mantle, the upper chiton sleeve and bracelets—shown on nolan amphora in Boston by Tithonos Painter is close to the Berlin Painter’s pelike in Vienna, showing Demeter.

The hallmark ULFA pattern band invented by the Berlin Painter set well with many others: The Painter of the Yale Lekythos, Alkimachos Painter, and the Berlin Painter’s students. Three of the students are identified: The Providence Painter, Hermonax and The Achilles Painter.
They’ve adopted the master’s style in various degrees; sometimes it was the dominant subject matter (the pursuit scenes, for example), sometimes it was the ULFA pattern band, the single figure per side of the vase, a combination of those and other features of the style.

On the design aspect specifically: I believe that there are reasons to think that the Berlin Painter was familiar with at least some of the intellectual trends both past and of his times, and that they impacted his style and design. To me, that is best evidenced by his treatment of what is known today as the negative space. He was the first to treat the negative space as an asset, consciously and deliberately making choices about the negative space being a part of the composition as opposed to a void in imagery or excess of space. Previously, the background was merely a platform for the information. By reducing the number of figures, the Berlin Painter elevated the status of their background; he showed them in the prominent place against the exposed stage which suddenly has become of importance as well. Some of the Pioneers--Euthymides, Smikros--already had produced neck-amphorae with single figures on a black ground; The Berlin Painter, no doubt, popularized the placement of one figure on each side of the vase and turned it into a trend.

The

Reply
Carol E Morse
6/16/2020 06:35:48 pm

Thank you, Xavier! You are introducing me to a new language! I think the pots are very beautiful and appreciate your detailed information about the Berlin Painter and others who followed him. I have looked at pots in a variety of museums and studied a few for their stories and techniques but never put thought into the progression of design..or how the potters may have interacted among themselves.
Now, I'll have to go back and look again! So much to know, so little time. You obviously have much knowledge to share and I hope you will write more on ancient pottery.
Chinese Brush Painting also makes use of negative space and it has as much importance to the work as the visible work! The "ancients" just might have had some of the best ideas!
I look forward to reading more!
Carol

Reply



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