Magna Graecia, Apulian, ca. 4th century BCE. A stunning red-figured skyphos with an impressive iconographic and decorative program. Side A features a winged Eros standing in composite profile and gazing into the mirror he holds in his right hand. The god of love is beautifully adorned with a beaded sash and thigh band, double wristlets, sandals, and a beaded headdress. Side B features a maiden donning a peplos with cascading drapery folds. She also holds a mirror in her right hand and a ribbon-adorned tympanum in her left. There is a filet to her lower left and a cask to her upper right. Below the handles are beautiful stylized palmettes and just below the rim on both sides is a stylish egg-and-dart band. Fine details are executed in fugitive white and yellow pigment. Size: 6.5" W handlespan x 4.25" H (16.5 cm x 10.8 cm)
Perhaps the most exciting innovation in Greek vase painting was the red-figure technique, invented in Athens around 525 BCE and beloved by other artists of Magna Graecia. The red-figure technique allowed for much greater flexibility as opposed to the black-figure technique, for now the artist could use a soft, pliable brush rather than a rigid metal graver to delineate interior details, play with the thickness of the lines, as well as build up or dilute glazes to create chromatic effects. The painter would create figures by outlining them in the natural red of the vase, and then enrich these figural forms with black lines to suggest volume, at times perspectival depth, and movement, bringing those silhouettes and their environs to life. Beyond this, fugitive pigments made it possible for the artist to create additional layers of interest and detail as we see in this example.
Provenance: private Owen collection, Sussex County, New Jersey, USA, acquired in the 1990s from a US-based dealer
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#146030
Condition
One stable fissure from rim to shoulder beside one handle. Tiny nick above the mirror that Eros holds. Tiny nick to rim and two minute fissures below egg-and-dart beneath this and to the right of the maiden; possible repair below these, though very difficult to see. Otherwise, normal surface wear and surface deposits commensurate with age and imagery is still vivid.