Etruscan vase painting
The Etruscan vase painting there was v from 7th to 4th century. It was based very strongly on Greek vase painting . In addition, the Etruscans were also the main customers for Greek ceramics exports outside of Greece. With the Etruscans, ornate vases were part of the grave inventory of the deceased.
Black-figure vase painting
An own production of Etruscan vases probably started in the 7th century BC. A. The vases were initially based on black-figure models from Corinth and Eastern Greece . It is believed that Greek immigrants were the main producers in the early stages. The first important style was the Pontic vase painting . This was followed in the period between 530 and 500 BC. The Micali painter and his workshop. They mainly created amphorae , hydrates and pitchers. These mostly show comasts , symposia and animal friezes. It is less common that they are mythical pictures, but they are designed very carefully. At that time, Etruscan artists were more oriented towards Attic models. The end of the black-figure style is around 480 BC. Finally, the style developed mannerist and towards a less careful silhouette technique.
Red-figure vase painting
An imitative adoption of the red-figure style did not develop in Etruria until around 490 BC. BC and thus almost half a century after its development. These early products are known as pseudo-red-figure Etruscan ceramics because of their painting technique. Only towards the end of the 5th century BC The real red-figure technique was also introduced in Etruria. Numerous painters, workshops and production centers were found for both styles. The products were not only produced for the local market, but also sold to Malta , Carthage , Rome and the Ligurian coast .
Pseudo-red-figure vase painting
In early vessels of this style, the red-figure painting technique was only imitated. As with many early Attic vases, the entire body of the vessel was covered with black gloss and the figures were subsequently painted with red oxidizing or white earth colors. In contrast to the simultaneous Attic vase painting, the red-figure effect was not achieved by leaving out the painting ground. As in the black-figure vase painting, the interior drawings were then replaced by incisions and not additionally painted on. Important representatives of this painting style were the Praxias painter and other masters in his workshop in Vulci . Despite an obviously good knowledge of Greek mythology and iconography - which were not always implemented exactly - there is no evidence that the workshop masters had immigrated from Athens. Only in the case of the Praxias painter, inscriptions in Greek on four of his vases suggest that they came from Greece.
The pseudo-red-figure style was not a phenomenon of the early days in Etruria, such as in Athens. Especially in the 4th century BC Some workshops specialized in this technique, although at the same time real red-figure vase painting was widespread in Etruscan workshops. Mention should be made of the workshops of the Sokra and Phantom groups . The somewhat older Sokra group preferred bowls, the interior of which offered depictions of mythical themes from the Greeks, but also Etruscan content. Motifs of the phantom group mostly depicted cloak figures in combination with compositions of plants and palmettes. The associated workshops of both groups are believed to be in Caere , Falerii and Tarquinia . The Phantom Group produced their goods until the early 3rd century BC. As for red-figure vase painting, the changing taste of the class of buyers brought an end to this style in general.
Red-figure vase painting
Only towards the end of the 5th century BC The real red-figure painting technique with recessed clay-ground figures was introduced in Etruria. The first workshops were built in Vulci and Falerii, which also used this technique to produce for the surrounding area. Attic masters were probably behind the establishment of the first workshop, but sub-Italian influence can also be demonstrated on the early vessels. Until the 4th century BC These workshops dominated the Etruscan market. Mostly mythological scenes were depicted on large to medium-sized vessels such as craters and jugs. In the course of the century, Faliscian production began to outnumber that of Vulci. New production centers were established in Chiusi and Orvieto . Above all, Chiusi with its drinking bowls from the Tondo group , which mostly depicted Dionyian themes in the inner bowl, gained in importance. In the second half, production relocated to Volterra. Above all, bar handle craters , so-called Keleben , were made and initially painstakingly painted.
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In the second half of the 4th century BC The mythological themes disappeared from the repertoire of Etruscan vase painters. In their place were female heads, figurative representations of at most two people. Instead, ornaments and floral motifs spread across the bodies of the vessels. Only in exceptional cases did large compositions return, such as the Amazonomachy on a crater by the The Hague Funnel Group painter . The initially extensive production of Faliscian vessels lost its importance to the newly established production center in Caere. Probably founded by Faliski masters and with no independent tradition, Caere became the dominant manufacturer of red-figure vases in Etruria. Simply painted oinochoes, lekyths, drinking bowls from the Torcop group and small plates from the Genucuilia group were part of the standard repertoire of their production. The production changeover to black varnish vases at the end of the 4th century BC BC, which corresponded to the taste of the time, also brought the end of red-figure vase painting in Etruria.
literature
- Matthias Steinhart : Black-figure vase painting II. Outside table. In: The New Pauly (DNP). Volume 11, Metzler, Stuttgart 2001, ISBN 3-476-01481-9 , Sp. 276-281.
Individual evidence
- ↑ Reinhard Lullies in: Ernst Berger (Ed.): Antique works of art from the Ludwig collection. Volume 1: Ernst Berger, Reinhard Lullies: Early Tonsarcophagi and Vases. Catalog and individual representations (= publications of the Antikenmuseum Basel. Vol. 4, 1). von Zabern, Mainz 1979, pp. 178-181 ISBN 3-8053-0439-0 .
- ↑ Huberta Heres , Max Kunze (ed.): The world of the Etruscans. Archaeological monuments from museums of the socialist countries. Staatliche Museen zu Berlin, capital of the GDR - Altes Museum, from October 4 to December 30, 1988. Henschel, Berlin 1988, ISBN 3-362-00276-5 , pp. 245–249 (exhibition catalog).
- ↑ Huberta Heres, Max Kunze (ed.): The world of the Etruscans. Archaeological monuments from museums of the socialist countries. State museums in Berlin, capital of the GDR - Altes Museum, from October 4 to December 30, 1988. Henschel, Berlin 1988, ISBN 3-362-00276-5 , pp. 249–263 (exhibition catalog).
