Kerch style
TheKerch style/ˈkɜːrtʃ/,also referred to asKerch vases,is an archaeological term describing vases from the final phase ofAtticred-figure potteryproduction. Their exact chronology remains problematic, but they are generally assumed to have been produced roughly between 375 and 330/20 BC. The style is characterized by slender mannered figures and a polychromatism given to it by the use of white paint and gilding.
The vases are thus named because a large quantity of them were found atKerch(ancientPantikapaion) on theBlack Seacoast ofCrimea.The majority of these are now in theHermitage Museum,St. Petersburg.It is not possible to set formal criteria which separate them stylistically from the contemporaryplain styleof lateclassicalvase painting around painters like theJena Painteror theMeleager Painter.The end of the Kerch style coincides with the end of red-figure painting as a whole. The identification of individual painters is often difficult.
At the time of their production, Kerch style vases were exported to all of the Mediterranean region, but unlike earlier phases, the Black Sea area was the main market for this late phase of Attic pottery export. Most of the previously current vase shapes were still painted, butkraters,lekanes(seeTypology of Greek Vase Shapes) andpelikeswere especially popular. The motifs are mostly scenes from the life of women (often exaggeratedly idyllic),dionysiacthemes and subjects to do withArtemisandDemeter.Fightinggriffinsare another common subject. The figures are often elegant and highly decorated, and in some cases painters have emphasized certain stylistic qualities at the expense of naturalism. Details and ornamentation played an important role, the best works resemble examples from the fifth century BC. White, yellow and red were often used as additional colours. The casual painting of the backs of vases is another typical feature.
TheMarsyas Painter,theEleusinian Painterand thePainter of Athens 12592mark a short and final flourish in the quality of Attic vase painting. Shortly afterwards, the activities of theYZ Grouppainters produced a multitude of vases of inferior quality in a number of workshops. Their end is also that of the Attic red-figure tradition. Recent research has thrown new light on this long-neglected field. The vases were first studied systematically byKarl Schefold.The most important scholar of Attic vase painting,John D. Beazley,only developed an interest in them late in his career; he did not agree with all of Schefold's views. In recent years, the analysis of fourth-century BCPanathenaic amphoraefromEretriahas provided new results. Additionally, it has been demonstrated that Kerch style vases were also produced outside Attica, for example inChalkidiki.Generally, theSouth Italianred-figure vase production of the time was superior to the Attic Kerch Style. The South Italian production also continued somewhat longer.
Representatives of the style include:
- Amazon Painter
- Apollonia Group
- Painter of Athens 1375
- Erotostasia Painter
- F.B. Group
- Filottrano Painter
- Group G
- Helena Painter
- Herakles Painter
- L.C.-Group
- Group of London E 230
- Otchet Group
- Pasithea Painter
- Pompe Painter
- Pourtales Painter
- Toya-Painter
- Painter of the Wedding Procession
Bibliography[edit]
- John D. Beazley:Attic red-figure vase-painters.Oxford 1963.
- John Boardman:Rotfigurige Vasen aus Athen. Die klassische Zeit,von Zabern, Mainz 1991 (Kulturgeschichte der Antiken Welt, Vol 48), especially p. 198-203ISBN3-8053-1262-8.
- Stella Drougou:Kertscher Vasen,inDNP6 (1999), col. 447f.
External links[edit]
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