38 Facts About Black-figure pottery

Black-figure pottery painting, known as the black-figure style or black-figure ceramic, is one of the styles of painting on antique Greek vases.

Black-figure pottery painting on vases was the first art style to give rise to a significant number of identifiable artists.

Foundation for Black-figure pottery painting is the image carrier, in other words the vase onto which an image is painted.

Evolution of black-figure pottery painting is traditionally described in terms of various regional styles and schools.

The outstanding significance of Attic Black-figure pottery comes from their almost endless repertoire of scenes covering a wide range of themes.

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Black-figure pottery technique was first applied in the middle of the 7th century BC, during the period of Proto-Attic vase painting.

Black-figure pottery was responsible for the first representations of harpies and Sirens in Attic art.

Black-figure pottery style became generally established in Athens around 600 BC.

Black-figure pottery was a very productive artist who seldom made use of mythological themes or human figures, and when he did, always accompanied them with animals or animal friezes.

Black-figure pottery apparently specialized in large vases, since especially dinos and amphoras are known to be his work.

Black-figure pottery favored large figures and was the first to create images showing the harnessing of a chariot.

Black-figure pottery is primarily significant as the first known painter to belong to the so-called Little Masters, a large group of painters who produced the same range of vessels, known as Little-master cups.

Black-figure pottery was presumably the last Attic vase painter to put animal friezes on large vases.

Black-figure pottery began his painting career at about the same time as Lydos but was active over a period almost twice as long.

Black-figure pottery's images are clever, charming and sophisticated and his personal artistic development comes close to a reflection of the overall evolution of black-figure Attic vase painting at that time.

Black-figure pottery was the first painter to portray them to a significant extent.

Black-figure pottery possibly anticipated some of their innovations or was influenced by them toward the end of his painting career: on many of his vases women are only shown in outline, without a black filling, and they are no longer identifiable as women by the application of opaque white as skin color.

Black-figure pottery's significance is not only due to his masterful vase painting, but to his high quality and innovative pottery.

Black-figure pottery signed 12 of his surviving vessels as potter, two as both painter and potter.

Black-figure pottery's scenes are usually monumental and the figures emanate a dignity previously unknown in painting.

Black-figure pottery was the first to paint a ship sailing along the rim of a dinos.

Black-figure pottery seems to have particularly specialized in producing vases for export to Etruria.

Black-figure pottery was the first to paint amphoras with a masklike face of Dionysus.

Black-figure pottery's drawings are seldom really precise, but neither are they excessively careless.

Black-figure pottery is not considered to be a very good artist, but his figures are unintentionally humorous because of the figures with their large heads, strange noses and frequently clenched fists.

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The Black-figure pottery was very widely distributed, from Marseille to Ionian Greece.

On Samos, Laconian Black-figure pottery is more common than Corinthian Black-figure pottery because of the close political alliance with Sparta.

Black-figure pottery vases were produced in Boeotia from the 6th to the 4th century BC.

Black-figure pottery vase painting in Euboea was influenced by Corinth and especially by Attica.

For example, Chalcidian Black-figure pottery painting was once associated with Euboea; in the meantime production in Italy is considered to be more likely.

Currently it is assumed that the Black-figure pottery was produced in Rhegion, perhaps in Caere, but the issue has not yet been finally decided.

Black-figure pottery began studying these vases in about 1910, making use of the method developed by the art historian Giovanni Morelli for studying paintings, which had been refined by Bernard Berenson.

Black-figure pottery assumed that each painter created original works which could always be unmistakably attributed.

Black-figure pottery made use of particular details such as faces, fingers, arms, legs, knees, and folds of clothing.

Basic research on Corinthian Black-figure pottery was accomplished by Humfry Payne, who in the 1930s made a first stylistic classification which is, in essence, being used up to the present time.

Black-figure pottery classified the vases according to shape, type of decoration and image subjects, and only afterward did he make distinctions as to painters and workshops.

Black-figure pottery followed Beazley's method except for attributing less importance to allocating painters and groups since a chronological framework was more important for him.

Laconian Black-figure pottery was known since the 19th century from a significant number of vases from Etruscan graves.