Exekias Belly Amphora
3 EXEKIAS BELLY AMPHORA
This is the third of the 16 set works that must be looked at. This one represents an example of the most impressively detailed Black-figure work that remains. It is one of two works by the same man (Exekias) that we look at.
FACT SCAN
Date: 550-40 BC
Type: Belly Amphora-Black figure
Potter: Exekias-signed
Painter: Exekias-signed
Height: 61 cm
Subject: Side A: Achilles and Ajax playing a board game Side B: Return of Castor and Pollux to their parents Leda and Tyndareas.
Now would be a good time to remind yourself of what amphorae were used for.
They were used for by the Greeks.
In this vase we will be concentrating on the details which the artist manages to convey through his art, and also looking at how the skills involved have developed and become more refined. Remember that Exekias is widely regarded as one of the best Black-figure artists of his time. You will need to memorize many of the impressive details about this vase for Bursary purposes.
BELLY AMPHORA
Belly amphorae have an unbroken curve from the lip to the foot and were introduced at the beginning of the 6th century BC. This one is more elaborate than many because it has a stepped foor and flanged, rather than cylindrical handles. Exekias is usually regarded as the zenith, or high point of Black-figure painting.
Subject matter
Exekias liked lively scenes, but also painted ones which captured the subdued parts of normally lively narratives.
Side A
This depicts Ajax and Achilles. Ajax was the friend of Achilles who had found his armour and body after Achilles' death, but subsequently lost it to Odysseus. They are playing a board game of some sort. Achilles calls "four" Ajax calls "three". Note that Ajax's speech comes out backwards.
Side B
This depicts the arrival home of the diskouri. From left to right the figures are: Pollux (named here as Polydeuces), a dog, Leda (mother of the twins), Castor (standing behind the horse), a slave(carrying a table with ' some clothes on it), and Tyndareus (step-father of the twins). The story of the birth, or rather conception of the twins is interesting as it involves Zeus visiting Leda in the guise of a swan and them having sex in this fashion.
Composition
Remember, this is the way in which the various scenes of the vase are put together. One tableau, or scene bordered above by lotus and palmette chain with separated leaves, bordered below by a red band. Ivy leaves on the handles. The base area of the body of the vase is encircled by ray bans. The internal composition of the main frieze is known as an inverted composition because of the way the figures and spears are arranged. Note that the focal point of the piece is the board and the game, the players are totally oblivious to the Trojan War going on around them: this has been echoed by the composition that the Painter has chosen. It also allows for an easy balance of the material within the frieze.
Stylistic Detail
The backs of the two characters form a A which highlight the upper contours of the shape of the vase. Conversely to this the spears also form a A, here the lower contours of the curve of the belly are highlighted. This shows us that the vase was well planned and carefully executed in its artistry by the painter. We can see impressive details of incisions in the following areas:
i) Mane of the horse
ii) Armour
iii) Ornamentation
iv) Clothes of Achilles and Ajax
v) Muscle contours of Castor
vi) Beards and Hair
vii) Dress of Leda
viii) Sinews of the horse
Attempts to show movement through the turning of Castor's head, but not at all convincing, since he ends up in an anatomically impossible position. Folding becoming more realistic, with overlapping hinting at depth, but not convincingly. A combination of of domesticity and narrative myth present. Warriors and young men seen with their parents as members of a family group, even when they can be identified as heroes.
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