The KleophradesPainter
Michael Padgett, Princeton University

22. Shapes: Panathenaic and Neck-Amphorae Part 1

In addition to the black-figure scenes which he added to some of his red-figure works, the Kleophrades Painter also produced several Panathenaic prize amphorae and at least six black-figure neck-amphorae.[110]

The neck-amphorae are of canonical type, with rays on the lower body, quatrefoils under the handles, and lotus and palmette chains on the neck (Illustration 130; Illustration 131). [111]

Illustration 130

Illustration 131

Half of these depart somewhat from canonical convention, replacing the bud friezes found on the other three examples with bands of black animals: lions and goats or lions and boars (Illustration 132; Illustration 133; Illustration 134; Illustration 135). [112]

Illustration 132

Illustration 133

Most of the subjects are commonplace — Dionysos, maenads, komasts, a departing warrior — but one depicts Sisyphus rolling his stone in Hades (Cone Collection (Moon No. 78)) and another has Herakles giving a kithara recital before Hermes and Athena (Worcester 1966.63).[113]

Illustration 134

Illustration 135

The painter's interest in Trojan subjects is continued on an example formerly in the art market, with the death of Priam on one side and the rape of Cassandra on the other.[114] In style and feeling, these works are difficult to relate directly to the painter's red-figure work, although certain figures and motifs can be paralleled.[115]

110. For the prize amphorae, see ABV, 404 (for others close in style, ABV, 405-6); Para., 175-76; Beazley Addenda 2, 105; Matheson 1989; and Beazley 1986, 86-87. For Panathenaic vases in general, a recent summary, with full bibliography, is Neils, "Panathenaic Amphoras: Their Meaning, Makers, and Markets" in Neils 1992, 29-51. For the neck-amphorae, see ABV, 405; Para., 176; Beazley Addenda 2, 105; and Kunze-Götte 1992. To the four neck-amphorae attributed by Beazley, Robert Guy has added Worcester 1966.63: Buitron 1972, 48-49, no. 19; and a vase formerly in the New York market: NFA Classical Auctions, Egyptian, Near Eastern, Greek & Roman Antiquities (December 11, 1991) no. 77. Kunze-Götte attributes the Worcester amphora to her "Painter of the Munich Atalanta" (p. 134, no. I 12, pl. 3), and the other to the Painter of the Montauban Centaurs (pls. 33, 42.1, and 70.2). On the basis of shape and ornament, she has connected with the same workshop a number of other neck-amphorae by different painters, including the Group of Munich 1501 (ABV, 341) and the Group of Toronto 305 (ABV, 282-84).

111. Cf. the neck ornament of the painter's red-figure neck-amphora St. Petersburg 609 (ARV2, 184, 19); Kunze-Götte 1992, pl. 14, 2.

113. Sisyphus: Cone collection, St. Louis (ABV, 405, 19; formerly Robinson and Mylonas colls.). Herakles: see note, supra.

115. See Moon 1979, 138-39, on Cone Collection (Moon No. 78), for an analysis of the St. Louis vase. At first, Beazley, too, was uncertain about some vases, initially attributing New York 41.162.189 and Würzburg L 222 (ABV, 405, 17 and 20) to the Eucharides Painter (AJA 47 [1943] 447).