Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-dh8gc Total loading time: 0 Render date: 2024-11-12T21:51:18.225Z Has data issue: false hasContentIssue false

14 - Reconsidering Ionian and Other Eastern Influences on Etruscan Black-Figure Vase-Painting

from Part V - Shared and Distinct Iconographies

Published online by Cambridge University Press:  02 March 2023

Elizabeth P. Baughan
Affiliation:
University of Richmond, Virginia
Lisa C. Pieraccini
Affiliation:
University of California, Berkeley
Get access

Summary

Although the local character of Etruscan black-figure vase painting was recognized as early as the 1830s, later scholarship was dominated by the Panionian paradigm. This view assumed that the style was initiated by migrants from East Greece before losing its “Greek” character and becoming “barbarized.” New studies of Etruscan black-figure have begun to revise this paradigm. In particular, it has been proven that the founder of the so-called Pontic workshop, called the Eyre Painter, owed nothing to East Greek art. In addition, certain groups of vases once thought to be products of Ionian painters who migrated in Etruria (the Campana dinoi and the Northampton Group) are now regarded as imports. Since these developments affect the very essence of the established paradigm, it is now time to reassess all available evidence. This paper deals not only with style, ornament, and vase-shapes, but also addresses questions of iconographic influence, especially in matters of ritual and divine iconography, and thus offers a more balanced view about the contribution of Anatolia to the development of Etruscan pictorial styles of the second half of the sixth century BCE.

Type
Chapter
Information
Etruria and Anatolia
Material Connections and Artistic Exchange
, pp. 250 - 266
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Amyx, D. A. 1962. “A ‘Pontic’ Oinochoe in Seattle,” in Hommages à Albert Grenier, Vol. 1, Latomus 58, ed. Renard, M., 121134. Brussels: Editions Latomus.Google Scholar
Arnott, W. G. 2007. Birds in the Ancient World from A to Z. London: Routledge.Google Scholar
Bailey, D. M. 2006. “The Arpies Amphora. Another Cartouche,” in Naucratis: Greek Diversity in Egypt, ed. Villing, A. and Schlotzhauer, U., 155157. London: British Museum.Google Scholar
Beazley, J. D. 1956. Attic Black-Figure Vase-Painters. Oxford: Clarendon Press.Google Scholar
Bentz, M. (ed.) 2008. Rasna. Die Etrusker. Eine Ausstellung im Akademischen Kunstmuseum Antikesammlung der Universität Bonn 15. Oktober 2008–15. Februar 2009. Petersberg: Imhof.Google Scholar
Boardman, J. 1998. Early Greek Vase-Painting. London: Thames & Hudson.Google Scholar
Böhlau, J. 1898. Aus ionischen und italischen Nekropolen. Leipzig: Teubner.Google Scholar
Böhlau, J. 1900. “Die ionischen Augenschalen,” Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung 25: 4099.Google Scholar
Bonaudo, R. 2004. La culla di Hermes. Iconografia e imaginario delle hydriai ceretane. Rome: L’Erma di Bretschneider.Google Scholar
Cook, R. M. 1933–1934. “Fikellura Pottery,” Annual of the British School of Athens 34: 198.Google Scholar
Cook, R. M. 1946. “Ionia and Greece in the Eighth and Seventh Centuries B.C.,” The Journal of Hellenic Studies 66: 6798.Google Scholar
Cook, R. M. 1984. Clazomenian Sarcophagi. Mainz: Philipp von Zabern.Google Scholar
Cook, R. M. 1989. “East Greek Influences on Etruscan Vase-Painting,” La Parola di Passato 44: 161173.Google Scholar
Cook, R. M. 1997. Greek Painted Pottery, 3rd ed. London: Routledge.Google Scholar
Cook, R. M. and Dupont, P. 1998. East Greek Pottery. London: Routledge.Google Scholar
de Witte, J. 1836. Descriptions des Antiquités et d’Objets d’Art qui composent le cabinet du feu M. le chevalier E. Durand. Paris: F. Didot frères.Google Scholar
Dohrn, T. 1966. “Die Etrusker und die griechische Sage,” Mitteilungen des Deutschen Archäologischen Instituts, Römische Abteilungen 73: 1528.Google Scholar
Ducati, P. 1932. Pontische Vasen. Berlin: Keller.Google Scholar
Dümmler, F. 1887. “Über eine Classe griechischer Vasen mit Schwarzen Figuren,” Mitteilungen des Deutschen Archäologischen Instituts, Römische Abteilung 2: 171192.Google Scholar
Dümmler, F. 1888. “Vasenscherbe aus Kyme in Aolis,” Mitteilungen des Deutschen Archäologischen Instituts, Römische Abteilung 3: 159180.Google Scholar
Furtwängler, A., and Reichold, K. 1909. Griechische Vasenmalerei. Munich: F. Bruckmann.Google Scholar
Gaultier, F. 1995. Corpus Vasorum Antiquorum, Musée du Louvre, Fascicule 24, France Fascicule 35. Paris: De Boccard.Google Scholar
Gaultier, F. 2003. Corpus Vasorum Antiquorum, Musée du Louvre, Fascicule 26, France Fascicule 39. Paris: De Boccard.Google Scholar
Gerhard, E. 1831. “Rapporto intorno i vasi volcenti,” Annali dell’Istituto di Corrispondenza Archeologica 3: 5233.Google Scholar
Hannestad, L. 1974. The Paris Painter, an Etruscan Vase-Painter. Copenhagen: Munksgaard.Google Scholar
Hannestad, L. 1976. The Followers of the Paris Painter. Copenhagen: Munksgaard.Google Scholar
Hemelrijk, J. M. 1984. Caeretan Hydriae. Mainz: Philipp von Zabern.Google Scholar
Hemelrijk, J. M. 2007. “Four New Campana Dinoi, a New Painter, Old Questions,” Bulletin antieke beschaving: Annual Papers on Classical Archaeology 82: 365421.Google Scholar
Hemelrijk, J. M. 2009. More about Caeretan Hydriae: addenda et clarificanda. Amsterdam: Allard Pierson Museum.Google Scholar
Herbig, R. 1933. “Verstreute etruskische Denkmäler in deutschen Sammlungen. I. Etruskisch-schwarzfigurige Vasen in Heidelberg,” Studi Etruschi 7: 353363.Google Scholar
Jackson, D. A. 1976East Greek Influence on Attic Vases, Hellenic Society Supplementary Paper 13. London: Society for the Promotion of Hellenic Studies.Google Scholar
Kramer, G. 1837. Über den Styl und die Herkunft der bemahlten griechischen Thongefässe. Berlin: Nicolaischen Buchhandlung.Google Scholar
Kunze, E. 1934. “Ionische Kleinmeister,” Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung 59: 81122.Google Scholar
Kurtz, D. C., and Boardman, J. 1986. “Booners,” in Greek Vases in the J. Paul Getty Museum 3: 3570. Malibu, CA: J. Paul Getty Museum.Google Scholar
Lane, E. 1933–1934. “Laconian Vase-Painting,” Annual of the British School of Athens 34: 99189.Google Scholar
Lund, J., and Rathje, A. 1988. “Italic Gods and Deities on Pontic Vases,” in Proceedings of the Third International Symposium on Greek and Related Pottery, Copenhagen August 31–September 4 1987, ed. Christiansen, J. and Melander, T., 352368. Copenhagen: Nationalmuseet.Google Scholar
Marangou, L. 1995. Ancient Greek Art from the Stavros Niarchos Collection. Athens: N. P. Goulandris Foundation, Museum of Cycladic Art.Google Scholar
Martelli, M. 1981. “Un askos del Museo di Tarquinia e il problema delle presenze nord-ioniche in Etruria,” Prospettiva 27: 214.Google Scholar
Martelli, M. (ed.) 1987. La ceramica degli Etrusci. La pittura vascolare. Novara: Istituto Geografico de Agostini.Google Scholar
Martelli Cristofani, M. 1978. “La ceramica greco-orientale in Etruria,” in Les céramiques de la Grèce de l’Est et leur diffusion en Occident, 150212. Naples: Institute Français de Naples.Google Scholar
Miller, M. C. 2013. “Clothes and Identity: The Case of the Greeks in Ionia c. 400 BC,” Antichthon 47: 1838.Google Scholar
Mingazzini, P. 1930. Vasi della collezione Castellani, Catalogo, Vol. 1. Rome: La Libreria dello stato.Google Scholar
Olivier-Trottenberg, Y. 2014. Corpus Vasorum Antiquorum. Deutschland 96, München, Antikensammlungen 17. Etruskisch Schwarzfigurige Keramik. Munich: C. H. Beck.Google Scholar
Paleothodoros, D. 2004–2007. “Dionysiac Imagery in Archaic Etruria,” Etruscan Studies 10: 187201.Google Scholar
Paleothodoros, D. 2011. “A Complex Approach to Etruscan Black-Figure Vase-Painting,” Mediterranea 8: 3380.Google Scholar
Payne, H. G. 1931. Necrocorinthia. A Study of Corinthian Art in the Archaic Period. Oxford: Clarendon Press.Google Scholar
Philippart, H. 1933. Review of Pericle Ducati, Pontische Vasen, Berlin/Leipzig 1932, L’Antiquité Classique 2: 424.Google Scholar
Sieveking, J. 1908. Führer durch die königliche Vasensammlung in der alten Pinakothek zu München. Munich: Kastner & Callwey.Google Scholar
Sieveking, J. and Hackl, R. 1912. Die königliche Vasensammlung zu München. Munich: J. B. Obernetter.Google Scholar
Smith, T. J. 2010. Komast Dancers in Archaic Greek Art. Oxford: Oxford University Press.Google Scholar
Stibbe, K. 1977. “Pontic Vases in Oxford,” Mededeelingen van het Nederlands Historisch Instituut te Rome 10: 711.Google Scholar
Tempesta, A. 1998. La raffigurazioni mitologiche sulla ceramica greco-orientale arcaica. Rivista di archeologia, suppl. 19. Rome: G. Bretschneider.Google Scholar
von Bothmer, D. 1955–1956. “Two Etruscan Vases by the Paris Painter,” Bulletin of the Metropolitan Museum of Art 13: 127132.Google Scholar
Walters, H. B. 1905. History of Ancient Pottery. London: J. Murray.Google Scholar
Wehgartner, I. 1983. Corpus Vasorum Antiquorum Deutschland 51, Würzburg; Martin-von Wagner Museum, 3. Munich: C. H. Beck.Google Scholar
Werner, I. 2005. Dionysos in Etruria. The Ivy-Leaf Group. Stockholm: Svenska institutet i Rom.Google Scholar
Williams, D. 2005. “The Beginnings of the So-Called ‘Pontic’ Group and Other Italian Black-Figure Fabrics,” in ΑΕΙΜΝΗΣΤΟΣ. Miscellanea di studi per Mauro Cristofani, Vol. 1, ed. Adembri, B., 352–360. Milan: Centro Di.Google Scholar
Williams, D. and Massar, N. 2017. “Fun and Games at the Symposium: A Corinthian Thauma in Brussels,” in ΤΕΡΨΙΣ. Studies in Mediterranean Archaeology in Honour of Nota Kourou, ed. Vlachou, V. and Gadolou, A., 229246. Brussels: CREA–Patrimoine.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×