1332, Rome: Instituto della Enciclopedia Italiana. Enciclopedia dell'Arte Antica, Classica e Orientale, Vol. 440, 1133, Rome: Instituto della Enciclopedia Italiana. 67a, Cambridge, Mass.: Harvard University Press. Les représentations dans la céramique attique du IVe siècle.

The Sculpture and Sculptors of the Greeks, 3rd edn. New York: The Metropolitan Museum of Art. Greek Painting: The Development of Pictoral Representation from Archaic to Graeco-Roman Times. 97, 98, 171, New Haven: Yale University Press. Red-Figured Athenian Vases in the Metropolitan Museum of Art. 95, New York: The Metropolitan Museum of Art. Milne, and The Metropolitan Museum of Art. 66, New York: The Metropolitan Museum of Art. 'Études de céramique grecque.' Gazette des Beaux Arts, 2: p. To experts illuminate this artwork's story Their influence was considerable and underlies the representation here and on the adjacent krater, 06.286.86.

The most celebrated Amazonomachies in Athens during the first half of the fifth century were large-scale wall paintings that decorated the Theseion and the Stoa Poikile (the Painted Portico). The Amazons were a mythical race of warrior women whose homeland lay far to the east and north. Instead, their preference was for grand mythological battles between Greeks and eastern adversaries, notably Amazons. make clear that the Greeks understood the magnitude of their victory in the Persian Wars, there was no concern among artists to illustrate major events or personalities. Thus, while literary works of the fifth century B.C. On the neck, obverse, battle of centaurs and Lapiths reverse, youths and women Around the body, Amazonomachy (battle between Greeks and Amazons) The ancient Greeks almost never depicted contemporary or historical events in art.

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