page_title: Black-figure pottery
section_title: The years of mastery
hierarchical_section_title: Black-figure pottery / Developments / Attica / The years of mastery
caption_attribution_description: English: Exekias' signature (ΕΧΣΕΚΙΑΣ ΕΠΟΕΣΕ), rotated 90° clockwise, detail from a kylix's foot representing Dionysos sailing, ca. 530 BC. Français&#160;: Signature d'Exékias (ΕΧΣΕΚΙΑΣ ΕΠΟΕΣΕ), tournée de 90° dans les sens des aiguilles d'une montre, détail d'un pied de kylix montrant Dionysos navigant, v. 530 av. J.-C.
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: The period between 560 and the inception of red-figure pottery painting around 530/520 BC is considered to be the absolute pinnacle of black-figure vase painting. In this period the best and most well-known artists exploited all the possibilities offered by this style.
  The first important painter of this time was the Amasis Painter (560–525 BC), named after the famous potter Amasis, with whom he primarily worked. Many researchers regard them as the same person. He began his painting career at about the same time as Lydos but was active over a period almost twice as long. Whereas Lydos showed more the abilities of a skilled craftsman, the Amasis Painter was an accomplished artist. His images are clever, charming and sophisticated and his personal artistic development comes close to a reflection of the overall evolution of black-figure Attic vase painting at that time. His early work shows his affinity to the painters of Siana cups. Advances can be most easily recognized in how he draws the folds of clothing. His early female figures wear clothes without folds. Later he paints flat, angular folds, and in the end he is able to convey the impression of supple, flowing garments. Drawings of garments were one of his chief characteristics; he liked to depicted patterned and fringed clothing. The groups of figures which the Amasis Painter shows were carefully drawn and symmetrically composed. Initially they were quite static, later figures convey an impression of motion. Although the Amasis Painter often depicted mythological events—he is known for his pig-faced satyrs, for example—he is better known for his scenes of daily life. He was the first painter to portray them to a significant extent. His work decisively influenced the work of red-figure painters later. He possibly anticipated some of their innovations or was influenced by them toward the end of his painting career: on many of his vases women are only shown in outline, without a black filling, and they are no longer identifiable as women by the application of opaque white as skin color.
  Group E (550–525 v. Chr.) was a large, self-contained collection of artisans, and is considered to be the most important anonymous group producing black-figure Attic pottery. It rigorously broke with the stylistic tradition of Lydos both as to image and vessel. Egg-shaped neck amphoras were completely given up, column kraters almost entirely abandoned. Instead, this group introduced Type A belly amphoras, which then became an index form. Neck amphoras were usually produced only in customized versions. The group had no interest in small formats. Many scenes, especially those originating in myths, were reproduced again and again. Thus several amphoras of this group show Heracles with Geryon or the Nemean Lion, and increasingly Theseus and the Minotaur, as well as the birth of Athena. The particular significance of the group is, however, in the influence it exerted on Exekias. Most Attic artists of the period copied the styles of Group E and Exekias. The work of Lydos and the Amasis Painter was, by contrast, not imitated as frequently. Beazley describes the importance of the group for Exekias as follows: "Group E is the fertile ground from which the art of Exekias sprouts, the tradition which he takes up and surpasses on his way from an excellent craftsman to a true artist".
  Exekias (545-520 BC) is generally considered to be the absolute master of the black-figure style, which reaches its apex with him. His significance is not only due to his masterful vase painting, but also to his high quality and innovative pottery. He signed 12 of his surviving vessels as potter, two as both painter and potter. Exekias probably had a large role in the development of Little-master cups and the Type A belly amphora mentioned above, and he possibly invented the calyx krater, at least the oldest existing piece is from his workshop. In contrast to many other comparable craftsmen, as a painter he attached great importance to the careful elaboration of ornaments. The details of his images—horses’ manes, weapo
caption: Signature of Exekias (ΕΧΣΕΚΙΑΣ ΕΠΟΕΣΕ – "Exekias made it") on the foot of the Dionysus cup
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": "2007:06:22 21:51:52", "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": "1/30", "EXIF FNumber": "28/5", "EXIF ExposureProgram": "Aperture Priority", "EXIF DateTimeOriginal": "2007:02:09 14:33:11", "EXIF DateTimeDigitized": "2007:02:09 14:33:11", "EXIF ExposureBiasValue": "-2/3", "EXIF MaxApertureValue": "5", "EXIF MeteringMode": "Pattern", "EXIF LightSource": "Unknown", "EXIF Flash": "Flash did not fire", "EXIF FocalLength": "55", "EXIF SubSecTime": "00", "EXIF SubSecTimeOriginal": "00", "EXIF SubSecTimeDigitized": "00", "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": "Auto", "EXIF DigitalZoomRatio": "1", "EXIF FocalLengthIn35mmFilm": "82", "EXIF SceneCaptureType": "Standard", "EXIF GainControl": "None", "EXIF Contrast": "Normal", "EXIF Saturation": "Normal", "EXIF Sharpness": "Normal", "EXIF SubjectDistanceRange": "0"}