Sarpedon was killed by the Greek warrior Patroclus. Euphronios's painting of Sarpedon's naked body, using very fine brushstrokes, delivers a visceral portrayal of a violent and sudden death. In Euphronios’ version, he shows Sarpedon being carried by two mythological figures that have wings and elegant attire. There are two parallel, horizontal lines directly below the top rim of this krater. Many lines are shown, both actual and implied, in the bands of this krater. This is called “scraffito,” and hence, this is why this krater, in particular, is called a red-figure amphora from the Attic vase period.Like most amphoras, scenes are depicted on the band of the thus describing the illusion of spatial depth. The two soldier’s spears found within the main band of the story also serve a similar purpose. Patterns and banding around the top and bottom of the krater create a fluent rhythm, adding to the flow of the story between the two while drawing the observer’s eye around the three-dimensional form.
The type of ceramic painted forms depends on how you apply the slip. While the subject of Sarpedon's death might normally be depicted as a stylized tableau, the figures in this scene are painted in naturalistic poses and with schematic, but accurate anatomy. Having a Trojan War hero also be the brother of Minos, involves a genealogical difficulty, since Minos lived three generations before the Trojan War. isn’t as realistic. Product Number: 013REDFP Description: Red figured calyx krater by Efronios illustrates the death of Sarpedon, son of Zeus and Lycian Prince. When focusing more on the smaller details, it is seen that there are several places where the element of line is used to either direct you around the story told on this krater, or it's used to separate the different parts of the intricate designs.
It is always made with two robust upturned handles positioned on opposite sides of the lower body or "cul". Stokstad, Marilyn, and Michael W. Cothren.
Red figured calyx krater illustrates the death of Sarpedon, son of Zeus and Lycian Prince 30cmare among the largest of the kraters, supposedly developed by the potter Exekias in black figure though in fact almost always seen in red.
Any red-figure krater will have this definite contrast because of the addition of black slip to red clay.
Copy classical period 530 BC. This krater would have been used for special events as stated above and would have been valued by the ancient Greeks.
In some accounts, Zeus granted his son Sarpedon the gift of long life. Euphronios was considered to be one of the best artists that did the red-figure painting technique.On these kraters a story needs to be told.
On the krater with the Death of the painting is called red-figure since there are red figures standing out against a black background. This seems to be used to balance out the piece, which applies to both creations.
There is also a line on the top of the piece that frames in the depiction of this story.
Red figured calyx krater by Efronios illustrates the death of Sarpedon, son of Zeus and Lycian Prince. Pearson EducationDr. Sarpedon was the son to Zeus and a mortal women. We now get the chance to have a glance in the past. Perhaps the most spectacular of all Greek vases, the Sarpedon krater depicts the body of Sarpedon, a hero of the Trojan War, being carried away to his homeland for burial.
The line below the characters’ feet appears similar to an “anchor line” that we’ve seen before in Ancient Egypt. Two warrior figures are working with the slender horizontal lines, that are between Sarpedon and the decorative bands, they create a visual guide for your eyes to follow around the piece.Inside the decorative bands that seem to be inspired by plant forms are two different repeating patterns. Side A of the so-called “Euphronios krater”, Attic red-figured calyx-krater signed by Euxitheos (potter) and Euphronios (painter), ca. Erin Thompson and Dr. Steven Zucker. In works of art, space refers to the distance or area between, around, above, below, and within shapes and forms within a composition. The -shaped vase fits inside it so well stylistically that it has been suggested that the two might have often been made as a set. This krater is made from ceramic and stands at 18 inches tall. 515 BC. Space can be seen on -------------------------------------------------------------The Coca-Cola bottle seen above is a more contemporary object.
Image credits: 1.
The potter’s name was Euxitheos and the painter was Euphronios. As stated before, the painter accounted for extra space he may have because of the shape of the krater so he made theband on the bottom thicker than the top for more balance.
-------------------------------------------------------------When one thinks about ancient Greece, one of the first things that come to mind is their spectacular achievements in the arts. On the bottle the Coca-Cola company is wanting you to see that it is a Coke and on the vessel it wants you to see the story that it is trying to depict.
He was in a battle alongside the Trojans where he was killed. Lines along the top consisting of patterns that seem to be influenced by plant life. Also, Euphronios made sure to have blood continuously pouring out of his wounds for a more dramatic effect and emphasis on that Sarpedon has been slain.Around 515 BCE Greeks were out of their earlier Geometric style and into the Archaic Period where they were more into making the figures be proportionally accurate. These colors are not like this until the vessel has been fired.
The process is called , a subtractive process that scratched or removed the black slip color prior to the pieces final firing.
Copy classical period 530 BC.
Your essay should bring in excellent descriptive support of how the elements are operating in this particular work of art. Especially vivid are the three open wounds on Sarpedon's body from which blood spills to the ground. The vase was returned to Rome in January, 2008 and now resides in the National Etruscan Museum of the Villa Giulia in Rome. Contrast with Kollwitz's personification, Nigel Spivey.
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