Etruscan vase painting
Encyclopedia
Etruscan vase painting was produced from the 7th through the 4th centuries BC. It was strongly influenced by Greek vase painting. Besides being producers in their own right, the Etruscan
s were the main export market for Greek pottery outside Greece. In Etruria
, richly decorated vases were a standard element of grave inventories.
. It is assumed that in the earliest phase, vases were produced mainly by immigrants from Greece. The first major style was so-called Pontic vase painting
. This was followed between 530 and 500 BC by the Micali Painter and his workshop. They mainly produced amphora
e, hydria
i and jugs. Depictions included komasts
, symposia and animal friezes. Mythological motifs occur more rarely, but are already created with great care. By this time, Etruscan vase painting had began to take its main influence from Attic vase painting
. The black-figure style ended about 480 BC. In its final phase, it had developed a tendency to mannerism and a sloppy silhouette style of drawing.
, Carthage
, Rome
and the Ligurian
coast.
, then adding figures on top, using paints that would oxidise into red or white during firing. In true red-figure, the red areas were left free of slip. In pseudo-red-figure, internal details were marked by incision, similar to the usual practice in black-figure vase painting, rather than painted on, as in true red-figure. Important representatives of this style were the Praxias Painter and other masters of his workshop, which was located at Vulci. In spite of their extensive knowledge of Greek mythology
and iconography - not always executed perfectly - there is no evidence that these masters were Greek immigrants. An exception is the Praxias Painter himself: since four of his vases bear painted inscriptions in Greek, he may have been of Greek origin.
In Etruria, the pseudo-red-figure style was not just an early phenomenon, as it had been in Athens. Especially in the 4th century BC, some workshops specialised in this technique, although true red-figure was widespread in Etruscan workshops at the same time. Examples include the workshops of the Sokra Group and the Phantom Group. The somewhat older Sokra Group had a preference for cups with interior images from Greek mythology, sometimes also with Etruscan motifs. The Phantom Group mostly painted cloaked figures in combination with compositions of plant or palmette
patterns. The workshops of both groups are supposed to have been located in Caere
, Falerii
and Tarquinia
. The Phantom Group produced its wares until the early 3rd century BC. Changing tastes on the buyers' part spelled the end not just of true red-figure but also of this style.
Only towards the end of the 5th century was the true red-figure technique, with the figures as reserved areas remaining in the actual clay colour, introduced to Etruria. The first such workshops developed in Vulci and Falerii, but also produced for surrounding areas. The original workshops were probably founded by Attic masters, but the early vessels also already display a South Italian
influence. These workshops dominated the Etruscan market until the 4th century BC. Large and medium format vessels like krater
s and jugs were mostly decorated with mythological scenes. During the course of the century, the production of Falerii began to outclass that of Vulci in terms of quantity. New centres of production developed in Chiusi
and Orvieto
. Chiusi became especially important through the Tondo Group, which produced drinking cups with mostly dionysiac motifs on the inside. In the second half of the century, production moved to Volterra
. Here, especially a certain type of craters, the kelebes were produced and initially painted very elaborately.
In the second half of the 4th century BC, mythological themes disappeared from the repertoire of Etruscan vase painters. They were replaced with women's heads and figural depictions of not more than two persons. Instead, the vase bodies were now mostly covered with ornamental and floral motifs. Larger compositions now only occurred in exceptional cases, such as the amazonomachy
on a krater by the Hague Funnel Group Painter. The initially, still substantial, production of Falerii lost its dominant role to the newly founded production centre at Caere. The Caere workshops were probably founded by masters from Falerii; they lacked a separate tradition but became the main centre of red-figure vase production in Etruria. Its standard repertoire included simply painted oinochoai, lekythoi
and drinking cups (e.g. by the Torcop Group), and small plates (Genucuilia Group). By the end of the 4th century, a change in consumer tastes led to a shift towards the production of black-glazed ware
, which marked the end of red-figure vase production in Etruria.
Etruscan
-Etruscan civilization:*Etruscan alphabet*Etruscan architecture*Etruscan art*Etruscan cities*Etruscan civilization*Etruscan coins*Etruscan language*Etruscan mythology*Etruscan numerals*Etruscan society*Etruscan terracotta warriors*Etruscan warfare...
s were the main export market for Greek pottery outside Greece. In Etruria
Etruria
Etruria—usually referred to in Greek and Latin source texts as Tyrrhenia—was a region of Central Italy, an area that covered part of what now are Tuscany, Latium, Emilia-Romagna, and Umbria. A particularly noteworthy work dealing with Etruscan locations is D. H...
, richly decorated vases were a standard element of grave inventories.
Black-figure vase painting
The local production of Etruscan vases probably began in the 7th century BC. Initially, the vases followed examples of black-figure vase painting from Corinth and EastGreeceEast Greek vase painting
East Greek vase painting was a regional style of ancient Greek vase painting, produced in East Greece. In spite of the region's wealth, the pottery was rather unremarkable in comparison to other areas. The clay is red-brown to pink and often contains mica inclusions...
. It is assumed that in the earliest phase, vases were produced mainly by immigrants from Greece. The first major style was so-called Pontic vase painting
Pontic Group
The Pontic Group is a sub-style of Greek black-figure vase painting from South Italy.Stylistically, Pontic vases are very closely related to Ionic vase painting. It is assumed, that the vases were produced in Etruria by craftsmen who had immigrated from Ionia...
. This was followed between 530 and 500 BC by the Micali Painter and his workshop. They mainly produced amphora
Amphora
An amphora is a type of vase-shaped, usually ceramic container with two handles and a long neck narrower than the body...
e, hydria
Hydria
A hydria is a type of Greek pottery used for carrying water. The hydria has three handles. Two horizontal handles on either side of the body of the pot were used for lifting and carrying the pot. The third handle, a vertical one, located in the center of the other two handles, was used when...
i and jugs. Depictions included komasts
Komos
The Komos was a ritualistic drunken procession performed by revelers in ancient Greece, whose participants were known as komasts. Its precise nature has been difficult to reconstruct from the diverse literary sources and evidence derived from vase painting....
, symposia and animal friezes. Mythological motifs occur more rarely, but are already created with great care. By this time, Etruscan vase painting had began to take its main influence from Attic vase painting
Attica
Attica is a historical region of Greece, containing Athens, the current capital of Greece. The historical region is centered on the Attic peninsula, which projects into the Aegean Sea...
. The black-figure style ended about 480 BC. In its final phase, it had developed a tendency to mannerism and a sloppy silhouette style of drawing.
Red-figure vase painting
An imitative adoption of the red-figure technique only developed in Etruria around 490 BC, nearly half a century after that style had been invented in Greece. Early produce is described as pseudo-red-figure Etruscan vase painting, due to its differing technique. Only by the end of the 5th century was the true red-figure technique introduced to Etruria. For both pseudo- and true red-figure, numerous painters, workshops and production centres have been recognised. Vases were not just produced for the local market, but als sold to MaltaMalta
Malta , officially known as the Republic of Malta , is a Southern European country consisting of an archipelago situated in the centre of the Mediterranean, south of Sicily, east of Tunisia and north of Libya, with Gibraltar to the west and Alexandria to the east.Malta covers just over in...
, Carthage
Carthage
Carthage , implying it was a 'new Tyre') is a major urban centre that has existed for nearly 3,000 years on the Gulf of Tunis, developing from a Phoenician colony of the 1st millennium BC...
, Rome
Rome
Rome is the capital of Italy and the country's largest and most populated city and comune, with over 2.7 million residents in . The city is located in the central-western portion of the Italian Peninsula, on the Tiber River within the Lazio region of Italy.Rome's history spans two and a half...
and the Ligurian
Liguria
Liguria is a coastal region of north-western Italy, the third smallest of the Italian regions. Its capital is Genoa. It is a popular region with tourists for its beautiful beaches, picturesque little towns, and good food.-Geography:...
coast.
Pseudo-red-figure vase painting
Early vessels of this style merely imitated the red-figure technique. As on some early Attic vases, this was achieved by covering the whole vase body in black shiny slipSlip (ceramics)
A slip is a suspension in water of clay and/or other materials used in the production of ceramic ware. Deflocculant, such as sodium silicate, can be added to the slip to disperse the raw material particles...
, then adding figures on top, using paints that would oxidise into red or white during firing. In true red-figure, the red areas were left free of slip. In pseudo-red-figure, internal details were marked by incision, similar to the usual practice in black-figure vase painting, rather than painted on, as in true red-figure. Important representatives of this style were the Praxias Painter and other masters of his workshop, which was located at Vulci. In spite of their extensive knowledge of Greek mythology
Greek mythology
Greek mythology is the body of myths and legends belonging to the ancient Greeks, concerning their gods and heroes, the nature of the world, and the origins and significance of their own cult and ritual practices. They were a part of religion in ancient Greece...
and iconography - not always executed perfectly - there is no evidence that these masters were Greek immigrants. An exception is the Praxias Painter himself: since four of his vases bear painted inscriptions in Greek, he may have been of Greek origin.
In Etruria, the pseudo-red-figure style was not just an early phenomenon, as it had been in Athens. Especially in the 4th century BC, some workshops specialised in this technique, although true red-figure was widespread in Etruscan workshops at the same time. Examples include the workshops of the Sokra Group and the Phantom Group. The somewhat older Sokra Group had a preference for cups with interior images from Greek mythology, sometimes also with Etruscan motifs. The Phantom Group mostly painted cloaked figures in combination with compositions of plant or palmette
Palmette
The palmette is a motif in decorative art which, in its most characteristic expression, resembles the fan-shaped leaves of a palm tree. It has an extremely long history, originating in Ancient Egypt with a subsequent development through the art of most of Eurasia, often in forms that bear...
patterns. The workshops of both groups are supposed to have been located in Caere
Caere
Caere is the Latin name given by the Romans to one of the larger cities of Southern Etruria, the modern Cerveteri, approximately 50-60 kilometres north-northwest of Rome. To the Etruscans it was known as Cisra and to the Greeks as Agylla...
, Falerii
Falerii
Falerii was one of the twelve chief cities of Etruria, situated about 1.5 km west of the ancient Via Flaminia, around 50 kilometers north of Rome.- History :According to legend, it was of Argive origin...
and Tarquinia
Tarquinia
Tarquinia, formerly Corneto and in Antiquity Tarquinii, is an ancient city in the province of Viterbo, Lazio, Italy.- History :Tarquinii is said to have been already a flourishing city when Demaratus of Corinth brought in Greek workmen...
. The Phantom Group produced its wares until the early 3rd century BC. Changing tastes on the buyers' part spelled the end not just of true red-figure but also of this style.
Red-figure vase painting
South Italian
South Italian is a designation for ancient Greek pottery fabricated in Magna Graecia largely during the 4th century BC. The fact that Greek Southern Italy produced its own red figure pottery as early as the end of the 5th century BC. was first established by Adolf Furtwaengler in 1893...
influence. These workshops dominated the Etruscan market until the 4th century BC. Large and medium format vessels like krater
Krater
A krater was a large vase used to mix wine and water in Ancient Greece.-Form and function:...
s and jugs were mostly decorated with mythological scenes. During the course of the century, the production of Falerii began to outclass that of Vulci in terms of quantity. New centres of production developed in Chiusi
Chiusi
Chiusi is a town and comune in province of Siena, Tuscany, Italy.-History:It was one of the more powerful among the Etruscan 12‑city confederation...
and Orvieto
Orvieto
Orvieto is a city and comune in Province of Terni, southwestern Umbria, Italy situated on the flat summit of a large butte of volcanic tuff...
. Chiusi became especially important through the Tondo Group, which produced drinking cups with mostly dionysiac motifs on the inside. In the second half of the century, production moved to Volterra
Volterra
Volterra, known to the ancient Etruscans as Velathri, to the Romans as Volaterrae, is a town and comune in the Tuscany region of Italy.-History:...
. Here, especially a certain type of craters, the kelebes were produced and initially painted very elaborately.
In the second half of the 4th century BC, mythological themes disappeared from the repertoire of Etruscan vase painters. They were replaced with women's heads and figural depictions of not more than two persons. Instead, the vase bodies were now mostly covered with ornamental and floral motifs. Larger compositions now only occurred in exceptional cases, such as the amazonomachy
Amazonomachy
An Amazonomachy was a portrayal of legendary battle between Greeks and Amazons...
on a krater by the Hague Funnel Group Painter. The initially, still substantial, production of Falerii lost its dominant role to the newly founded production centre at Caere. The Caere workshops were probably founded by masters from Falerii; they lacked a separate tradition but became the main centre of red-figure vase production in Etruria. Its standard repertoire included simply painted oinochoai, lekythoi
Lekythos
A lekythos is a type of Greek pottery used for storing oil , especially olive oil. It has a narrow body and one handle attached to the neck of the vessel. The lekythos was used for anointing dead bodies of unmarried men and many lekythoi are found in tombs. The images on lekythoi were often...
and drinking cups (e.g. by the Torcop Group), and small plates (Genucuilia Group). By the end of the 4th century, a change in consumer tastes led to a shift towards the production of black-glazed ware
Black-glazed Ware
Black-glazed ware is a type of ancient Greek fine pottery. The modern term describes vessels covered with a shiny black slip.Black-glazed pottery was produced especially in the Classical and Hellenistic periods. During reduced firing, sintering of the iron-rich clay led to a shiny black surface....
, which marked the end of red-figure vase production in Etruria.