Analysis: Terracotta Krater The terracotta krater originated in Greece between 750-700 BCE‚ known as the Geometric period. They were said to have been monumental grave markers. Most kraters were typically large‚ some over forty inches. They were made of ceramic and painted with linear designs‚ separated by registers. These vases were used to depict art in order to reveal a story. The artist wanted its viewers to capture the sense of realism in their design. The designs on the krater demonstrate what
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In the Ancient Gallery in the Chazen Museum of Art‚ there is a bell krater from Attica‚ Greece that was made around 460-450 BCE. It is a ceramic vase that is in excellent condition with the exception of a few chips on the red-figure decoration. The Bell Krater (figure 1‚ figure 2) stands under two feet tall and is just over one foot in width. Overall‚ the scene and design style on this krater is mostly consistent throughout the entire body of the vase‚ but there are a few formal elements that separate
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Euthymides’ Three Revelers is a Greek red-figure vase painting which dates back to about 510 BC. It was found in an Etruscan tomb in Vulci‚ Italy‚ where it had probably been imported from Athens. This is proof of the virtuosity of ancient Greek artists‚ and is quite ironic since the Greeks learned vase painting from the Corinthians. The earliest ancient Greek vase paintings were created using the black-figure technique. This involved using a clay-based slip to draw on the figures and later adding
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Geometric Krater The Geometric Krater is a magnificent piece of Greek Art. In the eight century‚ vase painting became very popular. The vases show a great show a great variety of style and development over the centuries‚ beginning with the geometric and very linear style. They then continued through the oriental style which borrowed images from the eastern world‚ and into the classical era with mythology portrayed with as much classical accuracy as the ancient Greek potters and painters could
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to the greek palaces‚ the imagery of the kraters linked the elites to the Mediterranean aristocratic lifestyle (Steel 290-291). Specifically‚ the kraters contained the image of the chariot‚ a fundamental symbol of the elite during the Late Bronze Age. The chariot represented hunting and warfare‚ but only the wealthiest could afford the horses required to pull it and the leisure time to pursue hunting; as a result‚ it inspired the chariot pictorial kraters found throughout elite burials (Steel 291)
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The Terracotta Bell-krater is a bowl for mixing wine and water that originated in Greece during the time period between 750-700 BCE. Known as the Geometric period‚ this piece of art is a perfect example of the Kraters that are commonly found from this period in time. Like the Terracotta Bell-Krater‚ many of these Kraters are very large and are decorated with geometric and linear designs. When viewing the Terracotta Bell-Krater‚ its characteristics such as its lines and color‚ foreshortening‚ and
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The Niobides Krater was made in greece and found in a necropolis in Italy. The vase is made from clay and has red figures. The technique of the Attic Red Figure style is used as there red figures are part of the red clay of the pot and silhouetted by the black painted background. Lots of delicate detail seen in Apollo’s body‚ Artmeis’s face and drapery. The figures on the vase follow the Greek canon of proportion with bare muscular bodies. This is a large severe styled vase with more characterization
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between the Archaic Period and the Hellenistic Period‚ Athenians had a fondness for the Amazonomachies‚ battles between Greeks and the mythical Amazonites‚ a race of warrior women from the north and east. Such is the focus of the Terracotta volute-krater‚ a red-figure battlefield baked and painted in approximately 450 BCE‚ at the shift between the Early and High Classical Periods of Greece. Curiously however‚ the painter‚ dubbed the Painter of the Woolly Satyrs. painted the the battle as an even match
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Egyptian canopic jars function as funerary pottery and a symbol of the protection offered by the four Sons of Horus. Although Egypt gets the most recognition‚ several other ancient cultures have similar pottery used for the dead’s benefit. Greek kraters functioned both as wine mixing pots and pots for liquid offerings for the dead. Both of these ceramics allow the viewer to observe key pieces of their respective cultures’ values‚ religion‚ and technology. Known as Egyptian canopic jars‚ these jars
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viewer’s attention longer for them to be able to appreciate the piece even more. The way artists use these techniques is their way of expressing a story or idea. The Terracotta calyx-krater‚ currently on display at the Metropolitan Art Museum‚ is a perfect example of how detail goes a long way in any art form. With this krater‚ although huge in size‚ only the most ambitious craftsmen would take it upon themselves to decorate (). Originally decorated with abstract designs‚ toward 800 BCE‚ humans and animals
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