page_title: Black-figure pottery
section_title: Caeretan Hydria
hierarchical_section_title: Black-figure pottery / Developments / Italy including Etruria / Caeretan Hydria
caption_attribution_description: Side A: Herakles, Cerberus and Eurystheus. Side B: two eagles flying and a hare.
context_page_description: Black-figure pottery painting, also known as the black-figure style or black-figure ceramic is one of the styles of painting on antique Greek vases. It was especially common between the 7th and 5th centuries BC, although there are specimens dating as late as the 2nd century BC. Stylistically it can be distinguished from the preceding orientalizing period and the subsequent red-figure pottery style.
  Figures and ornaments were painted on the body of the vessel using shapes and colors reminiscent of silhouettes. Delicate contours were incised into the paint before firing, and details could be reinforced and highlighted with opaque colors, usually white and red. The principal centers for this style were initially the commercial hub Corinth, and later Athens. Other important production sites are known to have been in Laconia, Boeotia, eastern Greece, and Italy. Particularly in Italy individual styles developed which were at least in part intended for the Etruscan market. Greek black-figure vases were very popular with the Etruscans, as is evident from frequent imports.
context_section_description: "Caeretan hydria" is the name used for an especially colorful style of black-figure vase painting. The origin of these vases is disputed in the literature. Based on an assessment of the painting the vases were long considered to be Etruscan or Corinthian, but in recent years the view predominates that the producers were two pottery painters who emigrated from eastern Greece to Caere (modern Cerveteri) in Etruria. Inscriptions in Ionic Greek support the emigration theory. The workshop existed for only one generation. Today about 40 vases produced by the two master craftsmen in this style are known. All are hydriai except for one alabastron. None were found outside of Etruria; most came from Caere, which is the reason for their name. The vases are dated to approximately 530 to 510/500 BC. The Caeretan hydria are followed stylistically by neck amphoras decorated with stripes.
  These technically rather inferior hydriai are 40–45 cm. high. The bodies of these vases have high and very prominent necks, broad shoulders, and low ring feet in the form of upside-down chalices. Many of the hydriai are misshapen or show faulty firing. The painted images are in four zones: a shoulder zone, a belly zone with figures and one with ornaments, and a lower section. All but the belly zone with figures are decorated with ornaments. There is only one case of both belly friezes having figures. Their multiple colors distinguish them from all other black-figure styles. The style recalls Ionian vase painting and multicolored painted wooden tablets found in Egypt. Men are shown with red, black or white skin. Women are almost always portrayed with an opaque white color. The contours as well as the details are incised, as is typical for the black-figure style. Surfaces of black glossy slip are often covered with an additional colored slip, so that the black slip which becomes visible where there is scoring supplies the various shapes with internal details.  On the front side the images are always full of action, on the back heraldic designs are common. Ornaments are an important component of the hydrias; they are not subsidiary to other motifs. Stencils were used to paint the ornaments; they are not incised.
  The Busiris Painter and the Eagle Painter are named as painters. The latter is considered the leading representative of this style. They were particularly interested in mythological topics which usually revealed an eastern influence. On the name vase by the Busiris painter, Heracles is trampling on the mythical Egyptian pharao Busiris. Heracles is frequently depicted on other vases as well, and scenes of daily life also exist. There are also uncommon scenes, such as Cetus accompanied by a white seal.
caption: Heracles, Cerberus and Eurystheus on a hydria by the Eagle Painter, c. 525 BC, now in the Louvre, Paris
exif: {"Image SubfileType": "Full-resolution Image", "Image Make": "NIKON CORPORATION", "Image Model": "NIKON D50", "Image Orientation": "Horizontal (normal)", "Image XResolution": "72", "Image YResolution": "72", "Image ResolutionUnit": "Pixels/Inch", "Image Software": "The GIMP", "Image DateTime": "2007:06:03 01:30:05", "Image ReferenceBlackWhite": "[0, 255, 0, 255, 0, 255]", "Image CFARepeatPatternDim": "[2, 2]", "Image CFAPattern": "[2, 1, 1, 0]", "Image ExifOffset": "304", "Image Tag 0x9216": "[1, 0, 0, 0]", "EXIF ExposureTime": "1/10", "EXIF FNumber": "63/10", "EXIF ExposureProgram": "Aperture Priority", "EXIF DateTimeOriginal": "2007:06:01 15:47:11", "EXIF DateTimeDigitized": "2007:06:01 15:47:11", "EXIF ExposureBiasValue": "0", "EXIF MaxApertureValue": "9/2", "EXIF MeteringMode": "Pattern", "EXIF LightSource": "Unknown", "EXIF Flash": "Flash did not fire", "EXIF FocalLength": "38", "EXIF SubSecTime": "20", "EXIF SubSecTimeOriginal": "20", "EXIF SubSecTimeDigitized": "20", "EXIF SensingMethod": "One-chip color area", "EXIF FileSource": "Digital Camera", "EXIF SceneType": "Directly Photographed", "EXIF CVAPattern": "[0, 2, 0, 2, 2, 1, 1, 0]", "EXIF CustomRendered": "Normal", "EXIF ExposureMode": "Auto Exposure", "EXIF WhiteBalance": "Manual", "EXIF DigitalZoomRatio": "1", "EXIF FocalLengthIn35mmFilm": "57", "EXIF SceneCaptureType": "Standard", "EXIF GainControl": "Low gain up", "EXIF Contrast": "Normal", "EXIF Saturation": "Normal", "EXIF Sharpness": "Normal", "EXIF SubjectDistanceRange": "0"}