LaurieAnnie's photos with the keyword: Helen

Drinking cup (skyphos) with the departure and recovery of Helen Painter: Makron Potter: Hieron Greek Late Archaic Period about 490 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions: Height: 21.5 cm (8 7/16 in.); diameter: 39 cm (15 3/8 in.); diameter of mouth: 27.8 cm (10 15/16 in.) Credit Line: Bartlett Collection—Museum purchase with funds from the Francis Bartlett Donation of 1912 Accession Number: 13.186 Collections: Ancient Greece and Rome Classifications: Vessels Visual vignettes of the beginning and end of the Trojan War decorate this skyphos, a form of drinking cup. An initial scene shows Paris (identified by his alternate name, Alexandros) arriving at Sparta to claim Helen as his bride. Helen was reluctant to leave her home, husband, and son (probably the small boy beneath one handle), until Aphrodite filled her with love-embodied by the tiny winged Eros close to her face-for Paris. Combining forces, Aphrodite veils Helen while Peitho (Persuasion) waves her on. Paris grasps Helen's hand, a gesture signifying both abduction and marriage, two concepts often conflated in the ancient world. This act began the war: Helen's husband Menelaos called on other Greeks, notably his powerful brother Agamemnon, to help him recover his wife. In the concluding scene, set in Troy during the fall of the city, a vengeful Menelaos finds Helen in the Sanctuary of Apollo. Once again, Aphrodite comes to Helen's aid, this time removing her veil so that Menelaos, overcome by her beauty, will drop his sword. The priest of the sanctuary, Chryses, and his daughter, Chryseis, witness the action, as does Priam, the king of Troy, who is seated under the handle at the right. These supporting characters flesh out additional details of the conflict: Priam, too old to fight, watched many of the battles from the city's walls, and Chryses and Chryseis figure prominently in the first book of Homer's Iliad, bringing both plague and internal conflict to the Greek forces. The artist responsible for this beautiful and complex rendering of the framing episodes of the Trojan conflict was Makron, one of the most influential red-figure painters in early fifth-century-B.C. Athens. He was exceptionally prolific, with more than six hundred extant vases attributed to him, and he appears to have worked exclusively with one potter, Hieron. Catalogue Raisonné Caskey-Beazley, Attic Vase Paintings (MFA), no. 140; Highlights: Classical Art (MFA), p. 061. Description: Side A: Paris (named Alexandros here) is leading Helen away from Sparta and the Palace of Menelaos. Aeneas, with a lion shield, accompanies Paris. Aphrodite and Eros flank Helen. Peitho, the personification of persuasion, follows behind Aphrodite. The boy under the handle is thought to be Helen's son by Menelaos. Side B: During the sack of Troy. Helen fleeing to the Sanctuary of Apollo. Menelaos, at the right, sees Helen and draws his sword to kill her. Aphrodite is behind Helen, present as an intervening force. Menelaos is in the act of dropping his sword, overcome by Helen's beauty. The priest of the sanctuary, Chryses, and his daughter, Chryseis are also present (at far left). Priam is seated under handle at the right, watching the story unfold. Painted inscriptions: "Aineas"; "Alexandros"; "Aphrodite" (twice); "Priam"; "Helen" (twice); "Kriseis"; "Kriseus"; "Menelaos" Scratched on handle: "Hieron made (it)" (HIERON EPOIESEN) Painted under the opposite handle: "Makron drew (it)" (MAKRON EGRAPHSEN) The size of this vessel suggests it was made for display, rather than use, and like huge kylikes (parade cups) of the same period which could not have been used for drinking. Signed Scratched on handle: "Hieron made (it)" (HIERON EPOIESEN) Painted under the opposite handle: "Makron drew (it)" (MAKRON EGRAPHSEN) InscriptionsInscriptions: "Aineas"; "Alexandros"; "Aphrodite" (twice); "Priam"; "Helen" (twice); "Kriseis"; "Kriseus"; "Menelaos", "Hieron "made [it] (HIERON EPOIESEN), "Makron painted [it]" (MAKRON EGRAPHSEN) Provenance: May 22, 1879, found next to a tomb at the necropolis of Suessula by Marchese Marcello Spinelli, Cancello, Italy [see note 1]; sold by Spinelli to Edward Perry Warren (b. 1860 - d. 1928), London and Rome; 1913, sold by Warren to the MFA for $18,948.70 [see note 2]. (Accession Date: January 2, 1913) NOTES: [1] F. von Duhn, "Scavi nella necropoli di Suessula," Bullettino dell'Instituto di corrispondenza archeologica 1879, p. 150. [2] Total purchase price for MFA accession nos. 13.186-13.245. Text from: collections.mfa.org/objects/153876/drinking-cup-skyphos-with-the-departure-and-recovery-of-he

Drinking cup (skyphos) with the departure and recovery of Helen Painter: Makron Potter: Hieron Greek Late Archaic Period about 490 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions: Height: 21.5 cm (8 7/16 in.); diameter: 39 cm (15 3/8 in.); diameter of mouth: 27.8 cm (10 15/16 in.) Credit Line: Bartlett Collection—Museum purchase with funds from the Francis Bartlett Donation of 1912 Accession Number: 13.186 Collections: Ancient Greece and Rome Classifications: Vessels Visual vignettes of the beginning and end of the Trojan War decorate this skyphos, a form of drinking cup. An initial scene shows Paris (identified by his alternate name, Alexandros) arriving at Sparta to claim Helen as his bride. Helen was reluctant to leave her home, husband, and son (probably the small boy beneath one handle), until Aphrodite filled her with love-embodied by the tiny winged Eros close to her face-for Paris. Combining forces, Aphrodite veils Helen while Peitho (Persuasion) waves her on. Paris grasps Helen's hand, a gesture signifying both abduction and marriage, two concepts often conflated in the ancient world. This act began the war: Helen's husband Menelaos called on other Greeks, notably his powerful brother Agamemnon, to help him recover his wife. In the concluding scene, set in Troy during the fall of the city, a vengeful Menelaos finds Helen in the Sanctuary of Apollo. Once again, Aphrodite comes to Helen's aid, this time removing her veil so that Menelaos, overcome by her beauty, will drop his sword. The priest of the sanctuary, Chryses, and his daughter, Chryseis, witness the action, as does Priam, the king of Troy, who is seated under the handle at the right. These supporting characters flesh out additional details of the conflict: Priam, too old to fight, watched many of the battles from the city's walls, and Chryses and Chryseis figure prominently in the first book of Homer's Iliad, bringing both plague and internal conflict to the Greek forces. The artist responsible for this beautiful and complex rendering of the framing episodes of the Trojan conflict was Makron, one of the most influential red-figure painters in early fifth-century-B.C. Athens. He was exceptionally prolific, with more than six hundred extant vases attributed to him, and he appears to have worked exclusively with one potter, Hieron. Catalogue Raisonné Caskey-Beazley, Attic Vase Paintings (MFA), no. 140; Highlights: Classical Art (MFA), p. 061. Description: Side A: Paris (named Alexandros here) is leading Helen away from Sparta and the Palace of Menelaos. Aeneas, with a lion shield, accompanies Paris. Aphrodite and Eros flank Helen. Peitho, the personification of persuasion, follows behind Aphrodite. The boy under the handle is thought to be Helen's son by Menelaos. Side B: During the sack of Troy. Helen fleeing to the Sanctuary of Apollo. Menelaos, at the right, sees Helen and draws his sword to kill her. Aphrodite is behind Helen, present as an intervening force. Menelaos is in the act of dropping his sword, overcome by Helen's beauty. The priest of the sanctuary, Chryses, and his daughter, Chryseis are also present (at far left). Priam is seated under handle at the right, watching the story unfold. Painted inscriptions: "Aineas"; "Alexandros"; "Aphrodite" (twice); "Priam"; "Helen" (twice); "Kriseis"; "Kriseus"; "Menelaos" Scratched on handle: "Hieron made (it)" (HIERON EPOIESEN) Painted under the opposite handle: "Makron drew (it)" (MAKRON EGRAPHSEN) The size of this vessel suggests it was made for display, rather than use, and like huge kylikes (parade cups) of the same period which could not have been used for drinking. Signed Scratched on handle: "Hieron made (it)" (HIERON EPOIESEN) Painted under the opposite handle: "Makron drew (it)" (MAKRON EGRAPHSEN) InscriptionsInscriptions: "Aineas"; "Alexandros"; "Aphrodite" (twice); "Priam"; "Helen" (twice); "Kriseis"; "Kriseus"; "Menelaos", "Hieron "made [it] (HIERON EPOIESEN), "Makron painted [it]" (MAKRON EGRAPHSEN) Provenance: May 22, 1879, found next to a tomb at the necropolis of Suessula by Marchese Marcello Spinelli, Cancello, Italy [see note 1]; sold by Spinelli to Edward Perry Warren (b. 1860 - d. 1928), London and Rome; 1913, sold by Warren to the MFA for $18,948.70 [see note 2]. (Accession Date: January 2, 1913) NOTES: [1] F. von Duhn, "Scavi nella necropoli di Suessula," Bullettino dell'Instituto di corrispondenza archeologica 1879, p. 150. [2] Total purchase price for MFA accession nos. 13.186-13.245. Text from: collections.mfa.org/objects/153876/drinking-cup-skyphos-with-the-departure-and-recovery-of-he

Drinking cup (kylix) with Menelaos reclaiming Helen The Elpinikos Painter Greek Late Archaic Period about 500 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions: Length: 13.9 cm (5 1/2 in.) Credit Line: Bartlett Collection—Museum purchase with funds from the Francis Bartlett Donation of 1912 and Gift of the Archaeological Institute, University of Leipzig Accession Number: 13.190 Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné Caskey-Beazley, Attic Vase Paintings (MFA), no. 007. Description: Center of a kylix. Interior: Menelaos reclaiming Helen; within a thin circle a bearded warrior, wearing cuirass and Corinthian helmet leading a woman, wearing chiton with kolpos, himation and veil, to left. He grasps her right wrist, looks back and brandishes sword in right hand. In the field at left the Greek inscription: "Elpi[nik]os is handsome" (Elpi[nik]os kalos). Ext.: Plain Inscriptions: ΕLΠΙ[ΝΙΚ]ΟS ΚΑLΟS Provenance: According to L. D. Caskey and J. D. Beazley, Attic Vase Paintings in the Museum of Fine Arts, Boston, vol.1, p. 6, no. 7: From Cervetri.; by 1912: with Edward Perry Warren; purchased by MFA from Edward Perry Warren, January 2, 1913, for $18,948.70 (this figure is the total price for MFA 13.186-13.245); in 1936 a fragment formerly in the collection of the University of Leipzig was joined to the MFA cup Text from: collections.mfa.org/objects/153944/drinking-cup-kylix-with-menelaos-reclaiming-helen

Drinking cup (kylix) with Menelaos reclaiming Helen The Elpinikos Painter Greek Late Archaic Period about 500 B.C. Place of Manufacture: Greece, Attica, Athens Medium/Technique: Ceramic, Red Figure Dimensions: Length: 13.9 cm (5 1/2 in.) Credit Line: Bartlett Collection—Museum purchase with funds from the Francis Bartlett Donation of 1912 and Gift of the Archaeological Institute, University of Leipzig Accession Number: 13.190 Collections: Ancient Greece and Rome Classifications: Vessels Catalogue Raisonné Caskey-Beazley, Attic Vase Paintings (MFA), no. 007. Description: Center of a kylix. Interior: Menelaos reclaiming Helen; within a thin circle a bearded warrior, wearing cuirass and Corinthian helmet leading a woman, wearing chiton with kolpos, himation and veil, to left. He grasps her right wrist, looks back and brandishes sword in right hand. In the field at left the Greek inscription: "Elpi[nik]os is handsome" (Elpi[nik]os kalos). Ext.: Plain Inscriptions: ΕLΠΙ[ΝΙΚ]ΟS ΚΑLΟS Provenance: According to L. D. Caskey and J. D. Beazley, Attic Vase Paintings in the Museum of Fine Arts, Boston, vol.1, p. 6, no. 7: From Cervetri.; by 1912: with Edward Perry Warren; purchased by MFA from Edward Perry Warren, January 2, 1913, for $18,948.70 (this figure is the total price for MFA 13.186-13.245); in 1936 a fragment formerly in the collection of the University of Leipzig was joined to the MFA cup Text from: collections.mfa.org/objects/153944/drinking-cup-kylix-with-menelaos-reclaiming-helen

Oil Jar with Paris and Helen Greek, made in Athens, 420-400 BC Terracotta Red-figured lekythos attributed to the Painter of the Frankfort Acorn Paris (prince of Troy) and Helen (queen of Sparta) gaze lovingly at each other on this oil jar. According to myth, Aphrodite was responsible for their meeting, which eventually led to the Trojan War. Here the goddess blesses the lovers' union as she flies above them in a chariot drawn by erotes, companions of Eros. Text from the Getty Villa museum label.

Oil Jar with Helen and Eros Attributed to the Manner of the Meidias Painter Greek, Athens, about 400 B.C. Terracotta 5 x 2 11/16 in. 86.AE.259 Eros, the winged god of love, kneels in front of a woman sitting on a rock and unfastens her sandal on this Athenian red-figure lekythos. Hermes, the messenger of the gods, identified by his kerykeion, and Paris, shown as a young hunter, observe this scene from either side. Who is this woman? Certain elements of the scene, such as the sandal-loosening suggest that she is Helen, whose affair with Paris caused the Trojan War, whereas other elements, such as the presence of Hermes and the outdoor setting, suggest that the woman is Aphrodite, the goddess of love. The artist appears to have blended the iconography of two favorite scenes of the period around 400 B.C.: the judgment of Paris and the romance of Paris and Helen. This vase also shows several of the elaborations favored by vase-painters in this period: the use of a great deal of added white color and the addition of gilding to enrich the vase's decoration. Text from: www.getty.edu/art/gettyguide/artObjectDetails?artobj=14115