Nessos Painter

Also referred to as the Nettos Painter.

Vase painter in Athens, active around 620-600 BC.

Originally named the Nettos Painter by Sir John Davidson Beazley, after the "Nessos Amphora", on which the name of the Centaur Nessos is inscribed Nετος (Netos). See images below. He was named the Nessos Painter by John Boardman, who also wrote that the Gorgon Painter was his pupil.

"I called the artist the Nessos Painter." John Boardman, Greek art, page 100 (mention of the Gorgon Painter on same page, caption to fig. 88). Thames and Hudson, London, 2012.

His style has been described as Late Protoattic or Early black-figure. He is thought to have been the first Athenian to adopt the Corinthian style. He developed his own style, introduced a number of innovations, and was a pioneer of Attic black-figure vase painting. It has also been suggested that he was the first Athenian vase painter whose work was traded internationally.

It has been suggested that works attributed to the Chimaera Painter (see photo below) may be early works of the Nessos Painter.

Named after the "Nessos Amphora", a large Archaic Attic black-figure amphora, circa 620-610 BC, found in Athens (see images below). The painting on the neck depicts Herakles fighting with the Centaur Nessos, with the inscribed names of the figures Ηερακλες (Herakles) and Nετ[τ]ος (Nettos). The body shows two winged Gorgons and the decapitated body of Medusa (see Medusa part 2). National Archaeological Museum, Athens. Inv. No. 1002 (CC 657).

A now lost fragmentary louterion (λουτήριον, wide spouted krater), also attributed to the Nessos Painter, was found in a well in the ancient city of Aegina, among other ceramic fragments, mostly of Corinthian pottery. Two of the inscribed painted panels from around the top of the vessel's body had survived. One showed Athena (name inscribed) standing behind Perseus (name inscribed) running or flying to the right in the "Knielauf" position, pursuing the headless Medusa and her two Gorgon sisters (figures missing). The other panel depicted two winged Harpies (inscription ΑΡΕΠΥΙΕ), running/flying to the right. Fragments of a lower band showed sphinxes and animals (horses, panthers, bulls). Height of louterion 28 cm, diameter 55 cm. State Museums Berlin (SMB). Inv. No. F 1682.

Other vases and fragments attributed to the Nessos Painter include:

A fragmentary skyphos krater, circa 620 BC, from Vari, southwest Attica. Fragments on the body include parts of a depiction of Herakles freeing Prometheus, and the base shows a procession of women (see photos below). Height 110.6 cm. National Archaeological Museum, Athens. Inv. No. 16384.

An Attic black-figure belly amphora, circa 620-610 BC, found in the Athens Agora in 1932. The vessel is decorated on each side with a sphinx. Height 45.7 cm, width 34.5 cm. Museum of the Ancient Agora, Athens. Inv. No. P 1247.

Fragments of a skyphos krater from Athens, with parts of a depiction of Bellerephon and Chimaera. Kerameikos Archaeological Museum, Athens. Inv. No. 154.

The "Nessos Amphora" was excavated in Pireaus Street, Keramaikos, central Athens in 1890. The painting on the body (belly) of the vase depicts two Gorgons and the decapitated body of Medusa (see Medusa part 2).

The Greek archaeologist Panagiotis Kavvadias (Παναγής Καββαδίας, 1850-1928), who excavated the amphora, believed it may have been a grave marker from the Late Geometric cemetery of the nearby Dilypon area. On the other hand, the German archaeologists excavating in Kerameikos thought it may have been from an "Opferrinne" (offering trench). The bones and ashes of sacrificed animals have been discovered in such trenches, often along with fine pottery, thought to have been buried after ritual meals.

There are several theories concerning the spelling of Nessos: the painter made an error, or came from Anatolia (Asia Minor) where the tau (T) letter-form is thought to have stood for double s; the name Nessos was pronounced Nettos in the Attic dialect.

One of the earliest known versions of the story of Herakles and Nessos was written by Sophocles in his play The Women of Trachis (lines 555-581). Deianeira, Herakles' wife, recalls how he killed Nessos (with an arrow) because the Centaur had tried to rape her. But even as he dies, Nessos plans his revenge on Herakles by tricking Deianeira. He tells her to keep some of his blood, and that a shirt dipped in it will win back Herakles' love, should he ever fall in love with another woman.

See also Nessos abducting Deianeira on an Attic black-figure lekythos, circa 600-580 BC, the name vase of the Deianeira Painter.

Source of images: Valerios Stais, Paul Wolters, Amphora aus Athen, in Antike Denkmäler Band I, pages 46-48 and plate 57. Kaiserlich Deutsches Archäologisches Institut. Verlag von Georg Reimer, Berlin, 1891. At Heidelberg University Digital Library.

See also:

The restored fragments of an early black-figure skyphos krater
with paintings attributed to the Nessos Painter.

On the lid are two confronting lions. On the body Prometheus is chained to a
high post, and Herakles, who is about to free him, shoots an arrow at the eagle
tormenting him. On the base is a procession of women (photo above right).

Around 620 BC. From Vari, southwest Attica. Height 110.6 cm.

Orpheus Painter

Red-figure vase painter in Athens,
active around 450 BC.

Polygnotos

Πολύγνωτος (also referred to as Polygnotos I)

Red-figure vase painter in Athens,
active around 450-420 BC.

He trained in the workshop of the Niobid Painter, and followed his master in painting mythical, religious and combat scenes. Considered one of the most important painters of the red-figure style of the High Classical period, he specialized in monumental vases, including kraters, hydria, stamnoi and shoulder amphorae, but also painted smaller pelike and Nolan amphorae. His signature has been found on five vases.

He led a workshop known as the Group of Polygnotos, including other painters whose names are known, to which around 700 vases have been attributed. Another two hundred vases by unnamed painters may also be products of the group.

Two other vase painters were named Polygnotos: an Early Classical painter of skyphoi, usually referred to as the Lewis Painter or Polygnotos II; and a "later Mannerist", known as the Nausicaa Painter.

An Attic red-figure stamnos, attributed to Polygnotos, circa 430-420 BC, depicting Theseus abducting Helen. National Archaeological Museum, Athens. Inv. No. 18063 (see photo below).

An Attic red-figure pelike, circa 450-440 BC, attributed to Polygnotos, with a finely drawn depiction of Perseus beheading the sleeping Medusa. One of the earliest depictions of Medusa as a beautiful young woman rather than a hideous monster. The other side shows King Polypeithes (named in the inscription, but not otherwise known) between two women.

Metropolitan Museum, New York.
Inv. No. 45.11.1.

Polyphemos Painter

(or Polyphemus Painter)

A high Proto-Attic vase painter and perhaps potter, active in Athens or on Aegina, mid 7th century BC.

Pourtalès Painter

Athenian late red-figure vase painter, around 380-360 BC.

A painter of Kerch style vases of the final phase of Attic red-figure pottery production, around 375-330/20 BC. The name of such vases is due to the fact that a large quantity of them were found at Kerch (ancient Pantikapaion), on the Black Sea coast of the Crimea. Most are now in the Hermitage Museum, Saint Petersburg.

A small number of vases have been attributed to Pourtalès Painter on the basis of style. He was named by John D. Beazley after the French-Swiss author Guy de Pourtalès (1881-1941), the former owner of a large, red-figure bell krater now in the British Museum. Side A shows the initiation of Herakles and the Dioskouroi into the Eleusinian Mysteries, with Demeter, Persephone, Triptolemos and other figures. Side B shows Dionysus, Plouton and Hephaistos with satyrs and maenads. Inv. No. GR 1865.1-3.14 (Vase F68).

See britishmuseum.org ...

Psiax

Ψίαξ (signature ΦΣΙΑΧΣ, Fsiaxs)

Vase painter and potter in Athens,
active around 540-505 BC.

He was initially named the Menon Painter by John Beazley, after the potter's signature on a red-figure type A amphora in the Penn Museum, Philadelphia. Inv. No. 5399. However, by 1913 Beazley had already suggested that the amphora was by Psiax, and in 1934 Gisela M. A. Richter demonstrated that the Menon Painter and Psiax were the same person.

See: Gisela M. A. Richter, The Menon Painter = Psiax. American Journal of Archaeology, Volume 38, No. 4 (Oct. - Dec. 1934), pages 547-554. At jstor.

He painted black-figure vases, and played a major role in the early development of the red-figure technique, invented in the workshop of the potter Andokides around 530 BC. Some scholars credit Psiax with the invention.

He worked with the potters Hilinos, Menon, Andokides and Nikosthenes. His black-figure work is stylistically close to that of the Antimenes Painter, who worked for the same workshop.

He probably taught Euphronios and Phintias (Φιντίας).

Around 60 surviving vases, dated circa 525-505 BC, have been attributed to Psiax, mostly small vessels, but also large amphorae, hydriai and chalice kraters. Two of the works, both red-figure alabastra (Odessa Archaeological Museum and Badisches Landesmuseum, Karlsruhe), have his signature as well as that of the potter Hilinos. Three of the other vases are signed by the potter Andokides.

Many of the works are black-figure, but he also used other techniques, such as white-ground, coral red, and Six's technique (adding colours, white or red, on the black ground, and incised details), and was a pioneer of red-figure painting and even "bilingual" vases (decorated in black and red-figure). His main subjects were Dionysiac scenes, myths of Herakles, archers and horses. His painting style has been described as fine, lively, dignified and restrained.

Black-figure Attic plate by Psiax, 540-510 BC, with an armed warrior. Found in the Sanctuary of Zeus at Olympia. Altes Museum, Berlin. Inv. No. F 2099.

Beazley Archive Database No. 320364.

Sophilos

Σώφιλος

Potter and black-figure vase painter in Athens, active around 590-570 BC.

The earliest Athenian vase painter whose signature has survived and whose true name is known.

A follower of the Gorgon Painter.

37 vessels have been attributed to Sophilos, mostly amphorae, dinoi (wine bowls), kraters, as well as three pinakes (plaques). Four are signed by him as painter (egrapsen, painted it) and one as potter (εποιεσεν, epoiesen, made it). His work was made for the domestic market and for export to south Italy, the Black Sea, Syria and Egypt (Naukratis). Many of his works are influenced by the Corinthian style of vase painting, with bands or panels with paintings of rows of real and imaginary animals shown in profile.

An Attic black-figure column krater attributed to Sophilos, around 590 BC, depicting Herakles wrestling with Nereus in the presence of Hermes. National Archaeological Museum, Athens. Inv. No. 12587.

A large Attic black-figure dinos (wine bowl), circa 580 BC, with a depiction of a procession of deities attending the wedding of Peleus and Thetis, one of the earliest known encircling figure friezes. It is signed by Sophilos as painter: ΣΟΦΙΛΟΣ [...] ΜΕΓΡΑΦΣΕΝ (Sophilos [...] megraphsen, Sophilos drew me). British Museum. Inv. No. 1971,1101.1.

An Attic black-figure amphora, thought to be a late work of Sophilos, circa 580 BC, found at Marathon (see photo below). On the neck Hermes stands between two sphinxes (see the Hermes page). National Archaeological Museum, Athens. Inv. No. 1030.

Restored fragments of an Attic black-figure amphora, a late work of Sophilos, circa
580 BC. On the neck, two confronting
Sirens, below which Hermes, holding a
kerykeion (caduceus), standing between
two sphinxes (see Hermes). On the body
are zones with depictions of winged Artemis,
animals, florals, sphinxes and geese.

Found at Marathon, Attica, Greece. The
most ancient of the many broken vases
found around the offerings ditch of the
tumulus of the Athenians who died
during the Battle of Marathon in 490 BC.

An Attic black-figure loutrophoros
(λουτροφόρος, used to carry bathwater)
with friezes of Sirens, animals and florals.
A late work of Sophilos, circa 580 BC.

Found at Vourva, Attica.

Sosias

Σοσιας

Potter in Athens, active around 510-490 BC.

Little is known about this potter. He has been identified by the signature Σοσιας εποιεσεν (Sosias epoiesen, Sosias made [me]) incised on the foot of an Attic red-figure kylix, circa 500 BC, now in the Berlin State Museums (SMB). Inv. No. F 2278. (see Sosias Painter below).

Sosias Painter

Red-figure vase painter in Athens, active around 510-490 BC.

Presumably working in the workshop of the potter Sosias.

His style resembles later works of Euphronios, and he may have worked with him. He is thus also thought to have been a member of the Pioneer Group of early red-figure painters.

Syleus Painter

Red-figure vase painter in Athens, active around 490-470 BC.

Fifty one works have been attributed to the Syleus Painter, named after a red-figure stamnos in Copenhagen depicting Herakles fighting Syleus.

An Attic stamnos, 480-470 BC, showing Dionysus, holding a drinking horn, with two dancing maenads. Pergamon Museum, Berlin. Inv. No. F2182.

Syriskos Painter

Red-figure vase painter in Athens, active around 480 BC.

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