Plate 558, 3–4
Accession Number 86.AE.203
By 1968–83, Walter and Molly Bareiss (Bareiss number 329; an undated inventory card cites a letter from D. von Bothmer dated April 10, 1968); 1983–86, the Mary S. Bareiss 1983 Trust; 1986, sold to the J. Paul Getty Museum.
Shape and Ornament
Single fragment preserving part of a rim and a neck. Flaring rim, reserved on top. Black interior with red band at rim. Outer edge of rim decorated with plain black key meander to left framed by horizontal black lines.
Symposion with Dionysos and youth. At right, Dionysos reclines to right with a vine in his left hand and an ivy wreath around his head. The god is bearded and dressed in a himation and chiton. In his right hand he holds out a kantharos toward the phiale held in the youth’s extended right hand. The youth is reclining, as indicated by the striped cushion behind his arm, and turns to face Dionysos. He wears a wreath around his head.
Attribution and Date
Attributed to the Triptolemos Painter by J. R. Guy. Circa 480 B.C.
Dimensions and Condition
Maximum preserved dimensions: height 9.1 cm; width 18.5 cm; thickness 1.1 cm. Height of the figural scene 6.8 cm. Outside of rim abraded in places, and inside red band partly flaked. Two chips missing.
Preliminary sketch. Relief contour. Accessory color. Red: line inside rim, outlined upper edge of rim, wreaths, vine leaves.
Abbreviation: Greek Vases and Modern DrawingsGreek Vases and Modern Drawings from the Collection of Mr. and Mrs. Walter Bareiss. Exh. cat. The Metropolitan Museum of Art, June 13–October 5, 1969. Entries by D. von Bothmer and J. Bean. New York, 1969, p. 4, no. 44 (69.11.87); “Acquisitions/1986,” Abbreviation: GettyMusJThe J. Paul Getty Museum Journal 15 (1987): 160–61, no. 7; Abbreviation: Gaunt, “Attic Volute Krater,”J. Gaunt. “The Attic Volute Krater.” Ph.D. diss., Institute of Fine Arts, New York University, 2002 p. 531, cat. no. 53.
New York, The Metropolitan Museum of Art, Greek Vases and Modern Drawings from the Collection of Mr. and Mrs. Walter Bareiss, June 13–October 5, 1969.
For the Triptolemos Painter, see Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 360–67, 1648, 1708; Abbreviation: ParalipomenaJ. D. Beazley. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. Oxford, 1971 364–65; Abbreviation: Beazley Addenda2Beazley Addenda: Additional References to ABV, ARV2 & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 222; E. Buschor, “Neue Duris-Gefässe,” Abbreviation: JdIJahrbuch des Deutschen Archäologischen Instituts 31 (1916): 74–76; Abbreviation: Beazley, Vases in American MuseumsJ. D. Beazley. Attic Red-Figured Vases in American Museums. Cambridge, Mass., 1918, pp. 98–99; idem, “A Hoplitodromos Cup,” Abbreviation: BSABritish School at Athens Annual 46 (1951): 7–15; idem, “Marpessa,” in Charites: Studien zur Altertumswissenschaft, Festschrift Ernst Langlotz, ed. K. Schauenburg (Bonn, 1957), pp. 136–39; M. Robertson, review of Abbreviation: ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963, Abbreviation: JHSJournal of Hellenic Studies 85 (1965): 99; M. Schmidt, “Der Zorn des Achill: Ein Stamnos des Triptolemosmalers,” in Opus Nobile: Festschrift zum 60. Geburtstag von Ulf Jantzen, ed. P. Zaroff (Wiesbaden, 1969), pp. 141–52; E. R. Knauer, Ein Skyphos des Triptolemosmalers, Winckelmannsprogramm der archäologischen Gesellschaft zu Berlin (BWPr) 125 (Berlin, 1973); J. R. Guy, “The Triptolemos Painter” (M.A. thesis, University of Cincinnati, 1974); idem, review of Ein Skyphos des Triptolemosmalers, by E. R. Knauer (supra), Abbreviation: AJAAmerican Journal of Archaeology 79 (1975): 381–82; R. Hampe, “Tydeus und Ismene,” Abbreviation: AKAntike Kunst 18 (1975): 10–16; E. R. Knauer, “Fragments of a Cup by the Triptolemos Painter,” Greek, Roman and Byzantine Studies 17 (1976): 209–16; C. Isler-Kerényi, Stamnoi (Lugano, 1977), pp. 43–48; J. R. Guy, “A Ram’s-Head Rhyton Signed by Charinos,” Arts in Virginia 21–22 (1981): 2–15; C. M. Robertson, “Two Pelikai by the Pan Painter,” in Greek Vases in the J. Paul Getty Museum, vol. 3, Occasional Papers on Antiquities 2 (Malibu, 1986), pp. 76–79; J. D. Beazley, Greek Vases: Lectures by J. D. Beazley, ed. D. C. Kurtz (Oxford, 1989), pp. 58–59; Abbreviation: Robertson, Art of Vase-PaintingM. Robertson, The Art of Vase-Painting in Classical Athens. Cambridge, 1992, pp. 15, 143–45; Abbreviation: Agora 30M. B. Moore. Attic Red-Figured and White-Ground Pottery. The Athenian Agora, vol. 30. Princeton, 1997, p. 103; D. Williams, Abbreviation: CVACorpus Vasorum Antiquorum London 9 (Great Britain 17), no. 16; R. T. Neer, in Abbreviation: CVACorpus Vasorum Antiquorum Malibu 7 (USA 32), no. 3; Abbreviation: Gaunt, “Attic Volute Krater,”J. Gaunt. “The Attic Volute Krater.” Ph.D. diss., Institute of Fine Arts, New York University, 2002 pp. 218–23; E. R. Knauer, “Two Cups by the Triptolemus Painter: New Light on Two Athenian Festivals,” Abbreviation: AAArchäologischer Anzeiger (1996): 221–46.
On Dionysos and a youth at the symposion, see C. Gasparri, in Abbreviation: LIMCLexicon Iconographicum Mythologiae Classicae. 1981–2009, vol. 3 (1986), pt. 1, pp. 456–57, s.v. “Dionysos.” The scene is not very common, and the identification of the youth is problematic. A suggestion that he is Oinopion, son of Dionysos, is possible, especially because of his appearance in symposion scenes with Dionysos. Cf. the poros pediment from Corfu, in ibid., p. 456, no. 370, depicting Dionysos reclining with a youth, maybe Oinopion. For Oinopion, see O. Touchefeu-Meynier, in Abbreviation: LIMCLexicon Iconographicum Mythologiae Classicae. 1981–2009, vol. 8 (1997), pt. 1, pp. 920–22, s.v. “Oinopion.”
For Dionysos and the symposion, see J.-M. Dentzer, Le motif du banquet couché dans le Proche-Orient et le monde grec du VIIe au IVe siècle av. J.-C. (Rome, 1982), pp. 118–20; Abbreviation: Lissarrague, Greek BanquetF. Lissarrague. The Aesthetics of the Greek Banquet: Images of Wine and Ritual. Translated by A. Szegedy-Maszak. Princeton, 1990, pp. 99–100 for an interpretation of Dionysos’s presence in symposia. For the divine banquet, see T. H. Carpenter, “A Symposion of Gods?,” in In Vino Veritas, ed. O. Murray and M. Tecuşan (Oxford, 1995), pp. 145–63; A. Avramidou, “Attic Vases in Etruria: Another View on the Divine Banquet Cup by the Codrus Painter,” Abbreviation: AJAAmerican Journal of Archaeology 110 (2006): 565–79. For symposion scenes with Dionysos, see also entry no. 24 (87.AE.93); K. Topper, The Imagery of the Athenian Symposium (Cambridge, 2012).
For Dionysos holding a kantharos in his outstretched right hand and the kantharos as an attribute of the god, see entry no. 24 (87.AE.93).
For the wreath, see entry no. 24 (87.AE.93). For wreaths, particularly in a symposion setting, see also M. Heilmeyer, “Kränze für das griechische Symposion in klassischer Zeit,” in Die griechische Klassik: Idee oder Wirklichkeit, eine Austellung im Martin-Gropius-Bau, Berlin 1. März–2. Juni 2002 und in der Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn 5. Juli–6. Oktober 2002 (Berlin, 2002), pp. 296–99.
For klinai in symposia, see J. Boardman, “Symposion Furniture,” in Abbreviation: SympoticaSympotica: A Symposium on the Symposion. Edited by O. Murray. Oxford, 1990, pp. 122–31. For symposia epi klinēs, see B. Fehr, Orientalische und griechische Gelage (Bonn, 1971); Dentzer, Le motif du banquet couché (supra), pp. 429–32, 445. For klinai, see also G. M. A. Richter, The Furniture of the Greeks, Etruscans and Romans (London, 1966), pp. 52–63; H. Kyrieleis, Thronen und Klinen: Studien sur Formgeschichte altorientalischer und griechischer Sitz- und Liegemöbel vorhellenistischer Zeit (Berlin, 1969).