Amasis Painter Ovoid Lekythos Attribution Details Name Ovoid

Amasis Painter Ovoid Lekythos

Attribution Details • • • Name: Ovoid Lekythos Made: 550 BC Size: 17 cm Potter and Painter: Amasis Painter Amasis may not be the painters real name. he is given this name as this vase is stylistically similar to a vase signed by Amasis. The name Amasis suggests that the painter was Egyptian. Three reasons for this suggestion are: The name Amasis is the Greek form of the Egyptian Ahmosis The alabastron shape, which Amasis used, had just been introduced from Egypt. On one of Exekias’s pots we see two Egyptians. They are called Amasis and Amasos.

The shape • Vase shape: Lekythos • Used for holding oil at funeral rites • This lekythos is different to other types of lekythoi as it may have been a wedding gift due to the subject matter of the picture. • This vase shape is perfect for its use because it has a large belly to store the oil and had a handle for pouring.

Painting Technique Black figure technique Three examples of this technique are: -Silhouette = black slip is used to paint silhouettes of the woman -Incised detail = the embroidered decoration on the peplos has been incised. • -No obvious added colour = the colour has chipped off over time. This is because the Amasis painter generally painted the outline of the figures, then painted the white in the reserved space. • Drapery on this vase is flat and fold less with incised detail. • The decoration of drapery on this vase is different from the decoration on the other vase because in this vase the whole dress is often decorated, while on the other vase only the hem of the dress is decorated. • •

Style • The women are wearing peplos’s • These garments were made from wool and were worn like a dress. • The drapery is flat and fold less. • -Details are incised • It is not obvious that the figure has any eyes. This is most likely because the painter has painted on the eyes, and the paint has chipped off over time.

Composition • Ground line = all the woman's feet are on the ground line, apart from the woman who is sitting on a chair. • - Symmetry = all of the woman are in pairs facing each other, apart from the woman on the far right who isn't in a pair. • - Depth = there is some depth where the two smaller woman are standing in front of a loom. The fact that the women are smaller suggests that the painter was trying to show that these women are behind the others. • - The single figure to the far right does not fit in with the symmetry of this vase. Her arms are positioned in a sideways v. • All of the figures are the same height, apart from the two women at the loom who are shorter to suggest that they are further away from the other women. • All of the figures are grouped in pairs facing each other apart form the women on the far right who is by herself. • Most of the vases space is taken up by images with small gaps between each pair. Images do not overlap.

The scene • 1= the two women are sorting wool and are putting it into a basket • 2=the women are winding the wool onto sticks • 3=the two women are folding pieces of fabric and placing them on a table • 4=the two women are weaving wool on a loom • 5=the women are weighing the wool on a pair of scales • 6=the woman is supervising the weavers.

The scene (cont) • The subject matter of this vase is important as it gives an insight into Greek domestic life while others subject matter did not • The artists favourite subject matter was Dionysus • In the small frieze around the neck figures are bringing gifts to the woman sitting on the chair • The main scene is related to the frieze on the neck as the main scene may be depicting the women making the gifts that are presented to the woman in the smaller frieze.