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The Kleophrades Painter
Michael Padgett, Princeton University
24. Followers of the Kleophrades Painter
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The Kleophrades Painter was too talented an artist not to be without followers and imitators, though his influence was more limited than the Berlin Painter, whose cooler style may have been more congenial to young artists of the Early Classical period. Among his later red-figure followers is the Troilos Painter, named after the scene on the hydria London 1899.7-21.4 (ARV2, 297, 15; Illustration 146).
He actively imitated the master's style in the late 480s and early 470s, outlining the lips of his figures and draping them in "Cleophradean" himatia.[126]
Beazley reported that a stamnos by the Kleophrades Painter (Vatican, Astarita 735) was found in the same tomb as another by the Troilos Painter (Williams 1964.9; Illustration 147); the vases are of the same model and apparently by the same potter, so it seems certain the two artists were working side-by-side.[127] Despite the obvious influence of the Kleophrades Painter, however, the Troilos Painter was a distinctly poorer draughtsman and there can be no real confusion between them.
The Kleophrades Painter's worklife came to an end sometime in the late 470s, but just as there is disagreement about the beginning of his career, there is also some question about its end. The Boot Painter, a red-figure cup-painter active in the late 470s and early 460s, was said by Beazley to continue the late style of the Kleophrades Painter; in discussing one of his cups in Cyprus (Nicosia V 414; ARV2, 821, 1) Beazley even wondered "whether cups like ours might not be the work of the Kleophrades Painter in his very latest phase."[128] The Boot Painter's lively figures, with large eyes, and occasionally outlined lips, do indeed owe a debt to the Kleophrades Painter, but it seems unlikely that they are from his hand. As Robertson so well puts it, "the doubt is a good example of the problems that beset us in studying a very ill-documented field in which the practitioners are at one and the same time commercial pot-decorators and serious artists, working over a period of profound and rapid change in visual perceptions."[129]
126. For the Troilos Painter, see Beazley 1912, 171-73; ARV2, 296-97, 1643, and 1705; ABV, 400; Para., 175 and 356; Beazley Addenda 2, 211; Robertson 1992, 127; and Padgett 1989, 305-320.
127. See ARV2, 1632, 58 bis and 1643, 10 bis. With these were also found a pair of pelikai by the Syleus Painter: Vatican, Astarita 731-732 (ARV2, 1639, 17 bis and 17 ter). Philippaki assigns most of the stamnoi by the Troilos Painter to the workshop of the Kleophrades Painter, which also produced the stamnoi decorated by the Hephaisteion Painter and the Dokimasia Painter; see Philippaki 1967, 52-56. Like the Kleophrades Painter, the Troilos Painter may also have decorated some black-figure neck-amphorae (ABV, 400).
128. J. D. Beazley, Some Attic Vases in the Cyprus Museum (London 1948) 43. For the Boot Painter, see ARV2, 821-23; Para., 421; Beazley Addenda 2, 293-94; and Robertson 1992, 155.
129. Robertson 1992, 155.
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