Hydria-Fragments in Corinth

Beazley, J. D.

doi:10.2307/147153

Cited by 49 publications

(4 citation statements)

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“…The Campana collection was one of the key collections of Attic pottery (e.g. Beazley 1933; Heesen and Iozzo 2019). For example, in 1973 and 1974 Bothmer presented to MMA fragments of a cup attributed to Makron that showed in the tondo a reclining bearded banqueter playing kottabos (New York MMA inv.…”

Section: Fragmentary Cups From Old Collectionsmentioning

confidence: 99%

Piecing Together the Story of a Pair of Makron’s Fragmented Cups

Gill,

Tsirogiannis

2023

Oxford J Archaeology

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SummaryIn 2022, an Athenian red‐figured cup attributed to Makron was returned to Italy by New York’s Metropolitan Museum of Art. The cup had been acquired in fragments, through purchase and gift, from multiple sources over several years, starting with two fragments from the restorer Fritz Bürki in 1978. A second cup, also attributed to Makron, was acquired in a parallel way. The sources for the fragments from both cups point to galleries collectors and donors – Summa Galleries, Frieda Tchachos, Elizabeth Hecht, and Dietrich von Bothmer – who have been associated with other material that has been repatriated to Italy in recent years. It is suggested that some of the incised ‘signatures’ by Hieron that are found on cups attributed to Makron may have been applied since antiquity.

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Section: Fragmentary Cups From Old Collectionsmentioning

confidence: 99%

Piecing Together the Story of a Pair of Makron’s Fragmented Cups

Gill,

Tsirogiannis

2023

Oxford J Archaeology

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“…24 Salerno PC 1812 = RVP 65, 19 = PV² 43-4 no. 58;Taplin (1993) Beazley (1952). Webster (1948) 25 suggested that the scene on the vase showing the binding of an old man resembled similar scenes in Attic comedy e.g.…”

Section: Iconographic Evidence: Comedy and Phlyax Vasesmentioning

confidence: 99%

Greek Tragedy on the Move

Stewart¹

2017

Oxford Scholarship Online

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This work is one of the first full studies of the dissemination of Greek tragedy in the archaic and classical periods. Drawing on recent research in network theory, it seeks to reinterpret classical tragedy as a Panhellenic art form. It thereby offers a radically new perspective on the interpretation of the extant tragic texts, which have often been seen as the product of the fifth-century Athenian democracy. Tragedy grew out of, and became part of, a common Greek (or Panhellenic) culture, which was itself sustained by frequent travel and exchange. This book shows how Athens was a major Panhellenic centre within a wider and, by the fifth century, well-established network of festivals and patrons. The part played by non-Athenians in the festival culture of Attica is fully reassessed and it is estimated that as much as a quarter of all tragic poets who produced plays in Athens during the classical period were non-citizens. In addition, the book re-examines the evidence for tragedies that were probably or certainly performed outside Athens and shows how and why they were calculated to appeal to a broad Panhellenic audience. The stories they contained were themselves tales of travel. Together the works of the tragedians told and reworked the history of the Greek peoples and showed how they were connected through the wanderings of their ancestors. Tragedy, like the poets and their creations, was meant to travel and this is the first full study of tragedy on the move in the archaic and classical periods.

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“…18, dance is a predramatic performance, as John Davidson Beazley believed. 94 It is possible, as Ferrari states so well, that the draped Karneia dancers, like those on the Taranto and Leiden kraters, were males who took on female roles at the festival: male youths "playing girls playing stars." 95 The fifth and the seventh figures on Taranto 8263, taken together with the whirling, chiton-draped male dancers on the Trysa portal, provide compelling insight into the identity of the Motya Youth.…”

Section: Kalathiskos Dancers At the Festival Of Apollo Karneios And Ementioning

confidence: 99%

The Motya Youth: Apollo Karneios, Art, and Tyranny in the Greek West

Papadopoulos

2014

The Art Bulletin

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Hydria-Fragments in Corinth

Cited by 49 publications

References 0 publications

Piecing Together the Story of a Pair of Makron’s Fragmented Cups

Piecing Together the Story of a Pair of Makron’s Fragmented Cups

Greek Tragedy on the Move

The Motya Youth: Apollo Karneios, Art, and Tyranny in the Greek West

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