The Codrus Painter: Iconography and Reception of Athenian by Amalia Avramidou
By Amalia Avramidou
The Codrus Painter used to be a painter of cups and vases in fifth-century B.C.E. Athens with a particular kind; he's named after Codrus, a mythical Athenian king depicted on one among his such a lot attribute vases. He used to be energetic as an artist throughout the rule of Pericles, because the Parthenon was once outfitted after which because the occasions of the Peloponnesian battle all started. not like the paintings of fellow artists of his day, the vases of the Codrus Painter seem to have been created nearly solely for export to markets outdoor Athens and Greece, specifically to the Etruscans in imperative Italy and to issues extra west. Amalia Avramidou bargains a completely researched, amply illustrated research of the Codrus Painter that still reviews at the mythology, faith, arts, athletics, and lifestyle of Greece depicted on his vases. She evaluates his kind and the defining features of his personal hand and of the minor painters linked to him. analyzing the subject material, determine kinds, and motifs at the vases, she compares them with sculptural works produced throughout the comparable interval. Avramidou’s iconographic research not just encompasses the cultural milieu of the Athenian city, but additionally bargains an unique and interesting standpoint at the adoption, that means, and use of imported Attic vases one of the Etruscans.
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Extra resources for The Codrus Painter: Iconography and Reception of Athenian Vases in the Age of Pericles (Wisconsin Studies in Classics)
7). 6 near the codrus painter, 430–420 bce I would attribute four cups (cat. 92, pl. 31; cat. 93, pl. 19; cat. 94, pl. 30; cat. 95, pl. 56) and two fragments (cat. 96, pl. 70; cat. 97, pl. 71) to a style Near the Codrus Painter, but more distant than that of the vases ascribed to his Manner. Two of these vases, the Battleﬁeld cup (cat. 92) and the ex-Charterhouse cup (cat. 94), were grouped together by Beazley, even though their drawing is quite distinct. The Battleﬁeld cup still preserves some of the qualities of the Codrus Painter’s style (with some inﬂuence from the Circle of the Eretria Painter), but the rendering of the musculature is not always successful, even though the weakness is often camouﬂaged by the bold poses of the ﬁgures and the tension of the scenes.
Both the Eretria Painter and Aison are thought to have been his teachers. 23 The plethora and intricacy of his Dionysiac themes have led scholars to suggest that the Meidias Painter is responsible for introducing those subjects to the Codrus Painter. 25 The relationship of the Codrus Painter to the Meidias Painter lies more in the choice of repertory than in style, since there is very little similarity between the Codrus Painter’s solid drawing and the light, playful compositions of the Meidias Painter.
The Astarita cup and the Timandra fragments), I have concluded that the latter belong to a different kylix because their rim and walls are thinner than the rest. 6. The Timandra fragments (cat. 10B) (courtesy of Musei Vaticani) they too should be attributed to the Codrus Painter remains open. The drawing of the ﬁgures is of high quality, and in some traits one recognizes the Codrus Painter’s hand: for example, the depiction of the ear and eye, the placement of the iris in the middle of the upper eyelid, the heavy chin, the bulky necks, and the serious expressions (ﬁg.