Berlin Painter

1. Berlin Painter Volute krater

2. Basic facts • Vase shape: volute krater • Function: mixing wine & water • Potter: unknown • Painter: Berlin Painter • Date: 500-480 BC • Height: 65cm

3. Painter • never signed his own name • the name Berlin Painter comes from an amphora found in Berlin - this volute krater is stylistically similar to that amphora • often spotlighted a single figure against a black background, with no framing panel • characters often give impression of being frozen in mid-action – their bodies tensed & poised to move on • figures are well-muscled • details drawn with dilute glaze • excellent at refinement & delicacy

4. Innovations • spotlighting a single figure against a black background with no framing panel; in this way they appear light & graceful, as if floating on the vase

5. Subject – side A • Achilles & Memnon (Trojan hero from Ethiopia) • a ‘frozen’ action scene from battle • watched by their mothers, Thetis & Eos

6. Subject – side B • Achilles & Hector • ‘frozen’ battle scene • watched by their respective divine patrons – Athena & Apollo • Achilles has already wounded Hector

7. Composition - overall • simple decoration - typical of the Berlin Painter • only the neck & handles are decorated • this is a reversal of the major artistic trend – no decoration on the body except for a coating of shiny black glaze, and a band of stylised rays at the base of the belly • this draws attention to the shape of the vase & also the main frieze • complex mirrored lotus & palmette chain on the lip (above the frieze) • below the scene is a tongue pattern

8. Composition - scenes • no overlapping • single groundline • two central figures are framed by their supporters • scenes are symmetrical • ¾ view of Achilles is mirrored on both sides • positioning of shields helps to give a three-dimensional effect • figures are in a ‘W’ composition which mimics the wide mouth and narrow base of the vase (the supporters are the ‘wings’ of the ‘w’ whilst the warriors are in the interior inverted ‘v’) • the clashing of the spears on side B adds to the ‘W’ composition

9. Figurative Details – side A Achilles • twisted in ¾ pose • carefully mirrors taut back view of Memnon

10. Figurative Details – side A cont Memnon • holds up his shield to block Achilles’ spear • prepares to lunge forward with his sword • position of his legs indicate movement – the heels of his feet are raised off the ground • he looks like he’s moving forward about to lunge with his sword

11. Figurative Details – side A cont Thetis • mother of Achilles • stands behind Achilles • her hands are raised as if urging him on to defeat Memnon

12. Figurative Details – side A cont Eos • mother of Memnon • Eos means Dawn • stretches out her right arm (mirrors Thetis) but her pose is one of anguish, knowing that her son is about to be defeated • mirror-like symmetry of the two women • her drapery flows to show movement & suggests she is moving away from the scene • zigzag folds in her drapery

13. Figurative Details – side B Achilles • his legs are moving forward showing that he is ready to attack • he is preparing to make the last fatal blow to the already wounded Hector • can see the interior of his shield – it highlights the figure of Achilles (Hector is contrasted and looks deliberately weak) • this shows that Achilles will be the victor • both warriors are slender, agile & well-muscled • both warriors are nude as was typical of Greek heroes

14. Figurative Details – side B cont. Hector • depicted totally unprotected – his shield is twisted behind him! • blood is spurting from wounds in his thigh and chest • one knee is bent – almost looks as if he is stumbling backwards from the curve of his body • his body is painted in the ¾ pose • both warriors are slender, agile & well-muscled • both warriors are nude as was typical of Greek heroes

15. Figurative Details – side B cont. Athena • stands behind Achilles • one arm is outstretched behind him – encouraging her favourite hero • she holds a spear in her hand • she wears her snake covered aegis and a helmet

16. Figurative Details – side B cont. Apollo • stands behind Hector • appears to be waving goodbye to the ‘doomed’ Hector • is carrying an arrow; maybe a hint at the fate that awaits Achilles

17. Non-figurative details • complex mirrored lotus & palmette chain on the lip (above the frieze) • below the scene is a tongue pattern • band of stylised rays at the base of the body

18. Inscriptions • the figures have their names painted beside them in dilute glaze

19. Painting Technique - overall • red-figure • figures are first painted with a relief line; the background was then painted in with black slip; extra details such as eyes were then added with black slip • figures have their names painted beside them in dilute glaze • major muscles are painted with slip – this provides more detail

20. Painting Technique – side B • Achilles arm (holding the spear) is foreshortened • dilute slip has been used on Achilles hair • dilute slip is used for the blood flowing from Hector’s thigh & chest • dilute slip also used for the details on the shields

21. Narrative Technique The ways a story can be communicated or told: • names (sometimes symbolic, e.g. Peitho (persuasion) on Makron’s vase to emphasise seduction) • actions • poses • hand gestures

22. Narrative Technique – this vase Overall • all figures are named • drapery flaring shows movement (particularly the supporters walking away) • hand gestures – such as pulling hair (suggest grief) Side A • Achilles raised arm shows he’s about to strike • his raised heel suggests movement • Eos pulling her hair suggesting she is in grief about Memnon’s imminent death Side B • Apollo looks back at the defeated Hector as he walks away (heel raised)