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Phintias and Euthymides
Jenifer Neils,
Case Western Reserve University
5. Composition and Style Part 2
Table of Contents | Previous Section | Part 1 | Next SectionOn an amphora attributed to Euthymides in the Louvre (Louvre G 44),[19] one sees many of the characteristics of the artist's hand: the bowed head (Illustration 41); the long, flat space between thumb and fingers (Illustration 42), the evenly stacked drapery folds (Illustration 43), and the palmette ornament with upward curling tendrils (Illustration 44).
 Illustration 41 |
 Illustration 42 |
 Illustration 43 |
 Illustration 44 |
Euthymides' most successful composition is Theseus' abduction of Helen which covers both sides of an amphora in Munich (Munich 2309; Illustration 45; Illustration 46). [20] Theseus' hold on the young girl resembles a wrestling pose as he lifts her off the ground. Behind him another girl named Korone (the girls' names are actually interchanged) attempts to free Helen, while the fourth figure, Theseus' comrade Peirithoos, looks behind, presumably at the two girls racing along on the other side of the vase. Behind them is the only motionless figure, an older man, who, in Pioneer fashion, speaks the words:
 Illustration 45 |
 Illustration 46 |
Euthymides' asymmetrical composition, wide-striding poses, flowing drapery, and backward glances contribute to the drama of the narrative, and the human element is conveyed by the tender touch of Helen's hand to her abductor's hair. It is tempting to compare this abduction with the earlier one by Phintias (Louvre G 42; Illustration 47). Beazley assessed the latter as follows: "how fussy and petty, for all its scrupulous virtuosity, when it is placed beside the grandeur of Theseus and his bride."
 Illustration 47 |
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