The Getty Villa

Wine Cup with a Boy Dedicating the Mouth Strap of a Wind Instrument Attributed to the Brygos Painter Greek, Athens, about 480 B.C. Terracotta 3 5/8 x 11 7/8 x 9 1/16 in. 86.AE.288 A youth stands before an altar on the interior of this red-figure kylix or cup. The lyre in one hand and the phorbeia, a face-strap used by flute players, that he holds over the altar identify him as a musician. The act of offering gifts to the gods was an essential element of Greek religion. Although pious worshippers could give animal sacrifices, libations or liquid offerings, or elaborate, expensive gifts, the gods also appreciated small items of great personal importance. Greeks made such offerings when praying for something to occur or in thanks for a good outcome. This scene may represent a youth asking for, or giving thanks for, a victory in one of the frequent musical contests in which well-bred Athenian young men competed. Although the depiction of a religious ritual on a cup used at a drinking party may seem odd today, the Greeks saw no conflict in this. For the Greeks, the drinking and merriment of the symposion was itself an offering to Dionysos, the god of wine. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=14161

Wine Cup with a Boy Dedicating the Mouth Strap of a Wind Instrument Attributed to the Brygos Painter Greek, Athens, about 480 B.C. Terracotta 3 5/8 x 11 7/8 x 9 1/16 in. 86.AE.288 A youth stands before an altar on the interior of this red-figure kylix or cup. The lyre in one hand and the phorbeia, a face-strap used by flute players, that he holds over the altar identify him as a musician. The act of offering gifts to the gods was an essential element of Greek religion. Although pious worshippers could give animal sacrifices, libations or liquid offerings, or elaborate, expensive gifts, the gods also appreciated small items of great personal importance. Greeks made such offerings when praying for something to occur or in thanks for a good outcome. This scene may represent a youth asking for, or giving thanks for, a victory in one of the frequent musical contests in which well-bred Athenian young men competed. Although the depiction of a religious ritual on a cup used at a drinking party may seem odd today, the Greeks saw no conflict in this. For the Greeks, the drinking and merriment of the symposion was itself an offering to Dionysos, the god of wine. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=14161

Wine Cup with a Sexual Encounter Attributed to the Foundry Painter Greek, Athens, about 470 B.C. Terracotta 3 9/16 to 3 11/16 x 12 x 9 3/16 to 9 5/16 in. 86.AE.294 The Greek orator Demosthenes summed up a symposion as "revelry, sex, and drinking." An integral part of Athenian aristocratic society, a symposion was a social gathering at which men ate, drank, played party games, were entertained with music and dance, and had sex with female prostitutes, mistresses, or male youths. This red-figure cup explicitly depicts a sexual encounter between a young man and a woman who is probably a hetaira, or prostitute. Such erotic scenes frequently decorated vases like this drinking cup, designed for use at a symposion and in keeping with the tone of the evening. The symposion was an essential element of Athenian social structure. Athenian men did not marry until they were in their thirties, and the symposion provided an important sexual outlet. Even after marriage, usually an arranged pairing with an extremely sheltered fourteen- or fifteen-year-old girl, a man probably spent little to no time with his wife. Marriage was designed to produce legitimate heirs; the symposion with its music, games, and hetairai was designed to produce pleasure. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=14167

Wine Cup with a Sexual Encounter Attributed to the Foundry Painter Greek, Athens, about 470 B.C. Terracotta 3 9/16 to 3 11/16 x 12 x 9 3/16 to 9 5/16 in. 86.AE.294 The Greek orator Demosthenes summed up a symposion as "revelry, sex, and drinking." An integral part of Athenian aristocratic society, a symposion was a social gathering at which men ate, drank, played party games, were entertained with music and dance, and had sex with female prostitutes, mistresses, or male youths. This red-figure cup explicitly depicts a sexual encounter between a young man and a woman who is probably a hetaira, or prostitute. Such erotic scenes frequently decorated vases like this drinking cup, designed for use at a symposion and in keeping with the tone of the evening. The symposion was an essential element of Athenian social structure. Athenian men did not marry until they were in their thirties, and the symposion provided an important sexual outlet. Even after marriage, usually an arranged pairing with an extremely sheltered fourteen- or fifteen-year-old girl, a man probably spent little to no time with his wife. Marriage was designed to produce legitimate heirs; the symposion with its music, games, and hetairai was designed to produce pleasure. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=14167

Wine Cup with a Drunk Man Vomiting Greek, made in Athens, about 490 BC Terracotta Red-figured kylix attributed to Onesimos as painter and Euphronios as potter Inventory # 86.AE.285 In the center of this wine cup, a wreathed youth stoops to hold the head of his overindulgent companion. The Greek inscription along the the upper border reads: "Euphronios made me." Over a long and accomplished career, Euphronios (active 520-475 BC) both painted and potted vessels while Onesimos (active 525-500 BC) was one of the most skillful vase-painters of his generation. Text from the Getty Villa museum label.

Wine Cup with a Drunk Man Vomiting Greek, made in Athens, about 490 BC Terracotta Red-figured kylix attributed to Onesimos as painter and Euphronios as potter Inventory # 86.AE.285 In the center of this wine cup, a wreathed youth stoops to hold the head of his overindulgent companion. The Greek inscription along the the upper border reads: "Euphronios made me." Over a long and accomplished career, Euphronios (active 520-475 BC) both painted and potted vessels while Onesimos (active 525-500 BC) was one of the most skillful vase-painters of his generation. Text from the Getty Villa museum label.

Wine Cup with a Crouching Satyr Greek, made in Athens, about 480 BC Terracotta Red-figured kylix attributed to Makron as painter. Inventory # 86.AE.291 To complete the image of a crouching satyr holding a skyphos (wine cup), the artist Makron used thick relief lines of black gloss to define the contours of the figure and dilute gloss to sketch the musculature. Scholars believe that Makron was one of the most prominent craftsmen in Athens during the early fifth century BC; more of his work survives than that of any other vase painter. Text from the Getty Villa museum label.

Wine Cup with a Crouching Satyr Greek, made in Athens, about 480 BC Terracotta Red-figured kylix attributed to Makron as painter. Inventory # 86.AE.291 To complete the image of a crouching satyr holding a skyphos (wine cup), the artist Makron used thick relief lines of black gloss to define the contours of the figure and dilute gloss to sketch the musculature. Scholars believe that Makron was one of the most prominent craftsmen in Athens during the early fifth century BC; more of his work survives than that of any other vase painter. Text from the Getty Villa museum label.

Wine Cup with Apollo Riding a Griffin Greek, made in Athens, about 380 BC Terracotta Red-figured kylix attributed to the Meleager Painter Inventory # 82.AE.43 In Greek myth, griffins represented the power of the sun and were sacred to Apollo (god of prophecy and music). They also served Nemesis (goddess of retribution), drawing her chariot and helping her turn the wheel of fortune. The griffin in the center of this vessel rears up, perhaps to take flight, with Apollo riding on its back. Text from the Getty Villa museum label.

Wine Cup with Apollo Riding a Griffin Greek, made in Athens, about 380 BC Terracotta Red-figured kylix attributed to the Meleager Painter Inventory # 82.AE.43 In Greek myth, griffins represented the power of the sun and were sacred to Apollo (god of prophecy and music). They also served Nemesis (goddess of retribution), drawing her chariot and helping her turn the wheel of fortune. The griffin in the center of this vessel rears up, perhaps to take flight, with Apollo riding on its back. Text from the Getty Villa museum label.

Fragmentary Mixing Vessel with Athena Attributed to Euphronios Greek, Athens, 515 - 510 B.C. Terracotta 77.AE.86 Only a few small fragments survive of what must once have been a magnificent red-figure calyx-krater. The fragments preserve part of Athena, the goddess of wisdom, and a decorative border of palmettes. Euphronios portrayed the goddess wearing a helmet and looking to the left. One arm is extended and covered by her aegis, her protective cloak edged with snakes. Partially preserved inscriptions written in the background provide clues as to what the original scene on the krater might have been. They probably name Athena and Perseus, the Greek hero, indicating that the krater depicted Perseus, accompanied by his patron deity Athena, decapitating the gorgon Medusa. Euphronios worked in the new red-figure technique, which allowed painters greater ability to render realistic and three-dimensional representations of the human body. One element that allowed this was the fact that in red-figure the artist could draw interior details of figures either with dilute, normal, or thickened glaze, thereby giving them a sense of shading and mass. As can be seen here in Athena's hair, the dots of thick glaze standing up from the surface of the vase give the decoration a literal as well as visual three-dimensionality. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=9069

Archer with Warriors Greek, from Athens, 510-500 BC Terracotta Red-figured kylix fragment attributed to Epiktetos as painter Inventory # 86.AE.306.2 Text from the Getty Villa museum label.

Title: Attic Red-Figure Cup Fragment Artists/Makers: Attributed to Onesimos (Greek (Attic), active 500 - 480 B.C.) and Signed by Euphronios (Greek (Attic), active 520 - 480 B.C.) Culture: Greek (Attic) Place: Athens, Greece (Place Created) Date: about 490 B.C. Medium: Terracotta Object Number: 86.AE.311 Dimensions: 10 × 11.2 × 2 cm (3 15/16 × 4 7/16 × 13/16 in.) Inscription(s): [ΕΥΦΡΟΝ]ΙΟΣ ΕΠΟΙΕΣEN ("[Euphroni]os made [it]"). Alternate Title: Fragment of a Wine Cup with a Warrior (Display Title) Previous Attribution: Painter: Onesimos (Greek (Attic), active 500 - 480 B.C.. Department: Antiquities Classification: Vessels Object Type: Cup The interior preserves the head and shoulders of a bearded warrior, moving to the right. With his shield on his left shoulder, he wears a cuirass decorated with a palmette and drapery over his right shoulder. His Corinthian helmet is worn off the face, and a wreathed scalp lies on top of it. Gloria Ferrari ( "Myth and Genre on Athenian Vases," Classical Antiquity 22.1 (April 2003), suggests the figure may be Achilles wearing the scalp of the Trojan prince, Troilos. To the left of the warrior’s head is an inscription, ‘[Euphroni]os made [it]’. Around the tondo, meander pattern with chequer squares. The exterior preserves a Centauromachy. From left: foot of a fallen Lapith, hind leg of a Centaur, and a greaved leg of a Lapith who thrusts his spear into the flank of a fallen Centaur (seen in rear view). Blood spurts from the wound. Text from: www.getty.edu/art/collection/objects/12109/attributed-to-onesimos-and-signed-by-euphronios-attic-red-figure-cup-fragment-greek-attic-about-490-bc

Wine Cup Fragment with Drunk Man Vomiting Greek, made in Athens, about 500 BC Terracotta Red-figured kylix fragment attributed to Onesimos as painter Inventory # 86.AE.284 A man supporting himself on a walking stick bends over to vomit, suffering from too much wine and revelry. The consequences of immoderate drinking were popular subjects on this type of cup. They were shown with playful humor that probably did not carry a moralizing or cautionary message. Text from the Getty Villa museum label.

Wine Cup Fragment with a Man Dragging a Sacrificial Goat Greek, made in Athens, 510-500 BC Terracotta Red-figured kylix fragment attributed to Apollodoros as painter Inventory # 83.AE.323 An old man drags a goat by the horns during a ritual procession preceding a sacrifice. The purple fillets (ribbons) decorating the goat's horns indicate its sacrificial status. Animals as well as prepared food were common offerings to the gods. Text from the Getty Villa museum label.

Red-Figure Volute Krater Kleophrades Painter Greek, Athens, about 490 B.C. Terracotta 22 3/8 x 16 3/16 in. 77.AE.11 Scenes from several Greek myths run around the neck of this enormous red-figure volute-krater, which was broken and reassembled from many fragments. On the front of the vase, the top row of decoration depicts a mythological battle against the Amazons. Much of this scene is missing, but Herakles, identifiable by his lionskin, grasps the hair of a fallen Amazon and prepares to deliver the fatal blow with his sword. The lower row shows excerpts of three Labors of Herakles: the Lernean Hydra, Geryon, and the Apples of the Hesperides. The better preserved back of the vase shows the Amazons preparing for battle and a scene with Peleus and Thetis, the parents of Achilles. The complexity of the decoration and the scale of this vase are unusual. In fact, this is the only surviving volute-krater with two rows of decoration on the neck. At this time, Athenian potters worked in close proximity and painters were very aware of each other's work. A showpiece like this vase may have been a response to the Kleophrades Painter's main competitor at this time, the Berlin Painter, who had been producing large volute-kraters with one frieze on the neck. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=8713

Mug with a Bathing Athlete Greek, made in Athens, 430-420 BC Terracotta Red-figured oinochoe attributed to the Eretria Painter Inventory # 86.AE.243 After exercise or competition, athletes cleansed themselves by applying oil to the body, scraping off the oil and dirt on the skin with a curved metal blade called a strigil, and then sponging with water. The bathing athlete depicted on this vessel squats on the balls of his feet, holding a sponge between his hands. His aryballos (oil container) hangs on the wall behind him. Text from the Getty Villa museum label.

Mixing Vessel with the Death of Orpheus Greek, Made in Athens, 460-450 BC Terracotta Red-figured calyx krater attributed to the Villa Giulia Painter Inventory # 80.AE.71 Text from the Getty Villa museum label. Villa Giulia Painter active: about 470 B.C. - 440 B.C. Athens, Greece Vase-Painter Greek The Villa Giulia Painter decorated vases in Athens during the period from about 470 to 440 B.C. He worked primarily in the red-figure technique, but he also produced some white-ground pieces. Most of his work appears to have been on large vessels, especially kraters of various forms. The Villa Giulia Painter usually favored quiet scenes, but he also included many depictions of Dionysiac religion and unusual myths. As with most ancient artists, the real name of the Villa Giulia Painter is unknown, and he is identified only by the stylistic traits of his work. Scholars named him after a krater in the Villa Giulia Museum in Rome. Text from: www.getty.edu/art/gettyguide/artMakerDetails?maker=352