Mycenaean Terracotta Chariot Krater in the Metropo…
Detail of the Mycenaean Terracotta Chariot Krater…
Geometric Terracotta Krater in the Metropolitan Mu…
Geometric Terracotta Krater in the Metropolitan Mu…
Detail from a Geometric Terracotta Krater in the M…
Detail from a Geometric Terracotta Krater in the M…
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Detail of a Greek Geometric Terracotta Krater Attr…
Greek Geometric Terracotta Krater Attributed to th…
Greek Geometric Terracotta Krater Attributed to th…
Geometric Terracotta Krater in the Metropolitan Mu…
Detail of a Greek Geometric Terracotta Krater Attr…
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Detail of a Terracotta Bell Krater with a Dionysia…
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View of the front of the Euphronios Krater in the…
The Euphronios Krater in the Metropolitan Museum o…
Detail of Hermes on the Euphronios Krater in the M…
Detail of the Euphronios Krater in the Metropolita…
Detail of Sarpedon and Thanatos on the front of th…
Detail of the Euphronios Krater in the Metropolita…
Detail of Sarpedon on the front of the Euphronios…
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Detail of Sarpedon on the Euphronios Krater in the…
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Detail of the lotus and palmette chain on the fron…
View of the back of the Euphronios Krater in the M…
Detail of the Euphronios Krater in the Metropolita…
Detail of the Euphronios Krater in the Metropolita…
View of one side of the Euphronios Krater in the M…
View of one side of the Euphronios Krater in the M…
Side View of the Euphronios Krater in the Metropol…
Detail of a Youth Arming on the back of the Euphro…
Detail of the Euphronios Krater in the Metropolita…
Detail of the Euphronios Krater in the Metropolita…
View of the back of the Euphronios Krater in the M…
View of the front of the Euphronios Krater in the…
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Detail of a Terracotta Calyx Krater by the Perseph…
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Detail of a Marble Calyx Krater with Reliefs of Ma…
Detail of a Terracotta Column Krater Attributed to…
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Terracotta Bell Krater Attributed to the Persephon…
Detail of Demeter on the Terracotta Bell Krater At…
Detail of Hekate on the Terracotta Bell Krater Att…
Detail of Persephone and Hermes on the Terracotta…
Terracotta Column Krater Attributed to the Alkimac…
Marble Fragment of a Volute Krater in the Metropol…
Detail of a South Italian Terracotta Column Krater…
South Italian Terracotta Column Krater in the Metr…
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Terracotta Column Krater Attributed to Lydos in th…
Fragment of a Calyx-Krater Attributed to the Sisyp…
Apulian Red-Figure Volute Krater in the British Mu…
Detail of a Terracotta Bell-Krater Attributed to P…
Detail of a Terracotta Bell-Krater Attributed to P…
Terracotta Bell-Krater Attributed to Python in the…
Terracotta Bell-Krater Attributed to Python in the…
Detail of a Terracotta Bell-Krater Attributed to t…
Detail of a Terracotta Bell-Krater Attributed to t…
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Terracotta Volute Krater by Sophilos in the Metrop…
Fragments Attributed to Euphronios in the Princeto…
Red-Figure Bell Krater by the Christie Painter in…
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Detail of a South Italian Volute Krater with a Dec…
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Detail of a South Italian Volute Krater with a Dec…
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Krater with a Comic Figure of Prometheus in the Ge…
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Detail of the Mycenaean Terracotta Chariot Krater in the Metropolitan Museum of Art, Oct. 2007
Chariot krater, first half of 13th century B.C.; Late Helladic IIIB:1
Mycenaean
Terracotta; H. 16 3/8 in. (41.6 cm)
The Cesnola Collection, Purchased by subscription, 1874-76 (74.51.966)
The scene depicted on both sides of this krater follows the tradition of Mycenaean chariot representations from the beginning of the fourteenth century B.C. Two tall, armless figures wearing long, spotted robes stand in a chariot drawn by a pair of horses. Flecks of paint on the box of the chariot may indicate that it was covered with the hide of an ox. The horses follow the convention of Mycenaean vase painting: when two horses are meant to be represented, the painter, in an attempt to show perspective, depicts only one body, with two tails, two pairs of hindlegs and forelegs, as well as two heads.
Stylized, high-stemmed flowers or abstract motifs decorate the background of the scene. To the right of the chariot, a female figure wearing a long robe stands with both arms raised and fingers splayed in what must be a meaningful gesture. Her breasts are rendered as two spirals, and the features of her face resemble those of the figures in the chariot. Most likely she is bidding goodbye to departing warriors, a familiar scene on earlier chariot kraters.
Large numbers of Mycenaean vases began to inundate the Cypriot market at the beginning of the fourteenth century B.C., perhaps as a result of extensive trade relations between the Argolid, a region in the Peloponnesos, and the eastern Mediterranean. The krater was a popular form in the repertoire of Mycenaean vases, found almost exclusively in tombs on Cyprus. Sometimes as many as half of the objects in fourteenth and thirteenth century B.C. tombs on Cyprus consist of Mycenaean pottery. Pictorial vases, like this one, were probably connected with funerary practices and, in some regions, may have served as vessels that held the remains of the deceased.
Text from: www.metmuseum.org/toah/ho/03/eus/ho_74.51.966.htm
Mycenaean
Terracotta; H. 16 3/8 in. (41.6 cm)
The Cesnola Collection, Purchased by subscription, 1874-76 (74.51.966)
The scene depicted on both sides of this krater follows the tradition of Mycenaean chariot representations from the beginning of the fourteenth century B.C. Two tall, armless figures wearing long, spotted robes stand in a chariot drawn by a pair of horses. Flecks of paint on the box of the chariot may indicate that it was covered with the hide of an ox. The horses follow the convention of Mycenaean vase painting: when two horses are meant to be represented, the painter, in an attempt to show perspective, depicts only one body, with two tails, two pairs of hindlegs and forelegs, as well as two heads.
Stylized, high-stemmed flowers or abstract motifs decorate the background of the scene. To the right of the chariot, a female figure wearing a long robe stands with both arms raised and fingers splayed in what must be a meaningful gesture. Her breasts are rendered as two spirals, and the features of her face resemble those of the figures in the chariot. Most likely she is bidding goodbye to departing warriors, a familiar scene on earlier chariot kraters.
Large numbers of Mycenaean vases began to inundate the Cypriot market at the beginning of the fourteenth century B.C., perhaps as a result of extensive trade relations between the Argolid, a region in the Peloponnesos, and the eastern Mediterranean. The krater was a popular form in the repertoire of Mycenaean vases, found almost exclusively in tombs on Cyprus. Sometimes as many as half of the objects in fourteenth and thirteenth century B.C. tombs on Cyprus consist of Mycenaean pottery. Pictorial vases, like this one, were probably connected with funerary practices and, in some regions, may have served as vessels that held the remains of the deceased.
Text from: www.metmuseum.org/toah/ho/03/eus/ho_74.51.966.htm
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