Lot 32C
Magna Graecia, South Italic, Apulian, ca. 4th century BCE. A hydria of a classic form with a voluminous piriform body, twin upraised handles emerging from the shoulder and one handle on the side opposite the figural scene joining the upper neck to the shoulder, a tubular neck rising to a wide flared rim with a convex edge, all upon a concave round foot. The impressive figural/decorative program is delineated via the red-figure technique with added/fugitive white pigment. A graceful female bearer is presented in profile, motioning toward her right as she presents a patera, holding it in her right hand and lowering it to an altar below. In her left hand she holds a mirror. Her body appears to be in motion with weight shifted to her right foot, a raised left foot, and outstretched arms. She wears a flowing chiton and himation, the drapery folds finely delineated over her curvaceous figure. In addition a sakkos adorns her coiffure, and she is bedecked with drop earrings and a pearl necklace. Size: 7" W handlespan x 7.5" H (17.8 cm x 19 cm)
Flanking the woman and altar are opposing floral/palmette tendrils. In addition to this iconography, the field is decorated with various motifs. From top to bottom, we see a band of frets adorning the downturned rim section, an ovalo register on the neck, and another one below the figural scene.
Perhaps the most exciting innovation in Greek vase painting was the red-figure technique, invented in Athens around 525 BCE and beloved by other artists of Magna Graecia. The red-figure technique allowed for much greater flexibility as opposed to the black-figure technique, for now the artist could use a soft, pliable brush rather than a rigid metal graver to delineate interior details, play with the thickness of the lines, as well as build up or dilute glazes to create chromatic effects. The painter would create figures by outlining them in the natural red of the vase, and then enrich these figural forms with black lines to suggest volume, at times perspectival depth, and movement, bringing those silhouettes and their environs to life. Beyond this, fugitive pigments made it possible for the artist to create additional layers of interest and detail as we see in this example.
Provenance: private Davis Collection, Houston, Texas, USA
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#132886
- Condition: Base and handles have been reattached. Chips and fissures visible at lower end of body. Nicks/chips to areas of the figural program and handles. Possible restoration to neck and rim, as the paint appears to be touched up a bit.
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