86.AE.207, fragment from body of vessel
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Pottery fragment with a black background and showing part of a man with a beard wearing clothing
86.AE.207, interior view of fragment from body of vessel
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The reverse side of the pottery fragment in illustration #20 (entry 4, view 1) (just showing lines)
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4.

Plate 524, 3–4

Accession Number 86.AE.207

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Provenance

–1983, Walter and Molly Bareiss (Bareiss number 253); 1983–86, the Mary S. Bareiss 1983 Trust; 1986, sold to the J. Paul Getty Museum.

Shape and Ornament

Three joining body fragments. Interior black.

Subject

Bearded god pursuing a female to right. The fragments preserve part of the head, the body, and the arms of the god. He is dressed in a chiton decorated with dots and has a himation over his left shoulder. The god has a wreath around his head and holds a scepter or trident. With his extended left arm he is probably attempting to grab the female by the shoulder. The woman is totally missing except for part of her hand and extended right arm. She was probably running away and looking back.

Attribution and Date

Attributed to the Dokimasia Painter by J. M. Padgett. Circa 470–460 B.C.

Dimensions and Condition

Maximum preserved dimension 11 cm.

Technical Features

Preliminary sketch. Relief contour. Accessory color. Red: wreath. Dilute black inside the fragments.

Bibliography

Greek VasesGreek Vases: Molly and Walter Bareiss Collection. Exh. cat. Entries by J. Frel and M. True. Malibu, 1983, p. 76, no. 104; “Acquisitions/1986,” GettyMusJThe J. Paul Getty Museum Journal 15 (1987): 160–61, no. 7; J. Neils, “The Dokimasia Painter at Morgantina,” in Vasenbilder im Kulturtransfer-Zirkulation und Rezeption griechischer Keramik im Mittelmeerraum, ed. S. Schmidt and A. Stähli (Munich, 2012), pp. 89, 91, note 38.

Comparanda

For the attribution, cf. Aigisthos on the calyx-krater by the Dokimasia Painter in Boston, Museum of Fine Arts 63.1246 (ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 1652; ParalipomenaJ. D. Beazley. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. Oxford, 1971 373.34 quater; R. M. Gais, in LIMCLexicon Iconographicum Mythologiae Classicae. 1981–2009, vol. 1 [1981], pt. 1, p. 373, no. 10, s.v. “Aigisthos”). Very characteristic is the way the vase-painter renders the clavicle; cf. the Thracian woman with the spear on the stamnos by the Dokimasia Painter in Basel, Antikenmuseum BS 1411 (BAPDBeazley Archive Pottery Database. http://www.beazley.ox.ac.uk 275231; ParalipomenaJ. D. Beazley. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. Oxford, 1971 373.34 ter; Beazley Addenda2Beazley Addenda: Additional References to ABV, ARV2 & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 115; CVACorpus Vasorum Antiquorum Basel, Antikenmuseum und Sammlung Ludwig 4 [Switzerland 8], pls. 2–4), and the Thracian woman on the stamnos by the Dokimasia Painter in Zurich, University 3477 (BAPDBeazley Archive Pottery Database. http://www.beazley.ox.ac.uk 275230; ParalipomenaJ. D. Beazley. Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters. Oxford, 1971 373.34 bis; Beazley Addenda2Beazley Addenda: Additional References to ABV, ARV2 & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 115). For the Dokimasia Painter, see ARV2J. D. Beazley. Attic Red-Figure Vase-Painters. 2nd ed. Oxford, 1963 412–15, 1649, 1651–52; Beazley Addenda2Beazley Addenda: Additional References to ABV, ARV2 & Paralipomena. 2nd ed. Compiled by T. H. Carpenter with T. Mannack and M. Mendonça. Oxford, 1989 233–34; E. Vermeule, “The Boston Oresteia Krater,” AJAAmerican Journal of Archaeology 70 (1966): 1–22; Robertson, Art of Vase-PaintingM. Robertson, The Art of Vase-Painting in Classical Athens. Cambridge, 1992, pp. 115–18; D. Williams, CVACorpus Vasorum Antiquorum London 9 [Great Britain 17], p. 69, with other bibliography; Neils, “The Dokimasia Painter” (supra), pp. 85–87.

Zeus or Poseidon pursuing respectively Aigina or Amphitrite appear to be the best candidates for the interpretation of the scene.

For Zeus pursuing a female and the pursuit scene in general, see entry no. 5 (86.AE.206). For Poseidon pursuing a female, see also U. Heimberg, Das Bild des Poseidon in der griechischen Vasenmalerei (Freiburg, 1968), pp. 35–43; Kaempf-Dimitriadou, Die Liebe der GötterS. Kaempf-Dimitriadou. Die Liebe der Götter in der attischen Kunst des 5. Jahrhunderts v. Chr. Beiheft zur Halbjahresschrift Antike Kunst 11. Bern, 1979, pp. 26–30, 80, 97–101; E. Simon, in LIMCLexicon Iconographicum Mythologiae Classicae. 1981–2009, vol. 7 (1994), pt. 1, pp. 467–68, s.v. “Poseidon.”