Lot Essay
PUBLISHED:
A. Greifenhagen, Alte Zeichnungen nach unbekannten griechiscehen Vasen, Munich, 1976, pp. 21, 27-28, nos. 10 and 14, Abb. 18 and 25 where D. von Bothmer concurs that the vase is by the Pig Painter.
The Pig Painter, so named after his pelike in Cambridge showing a man in company with a swineherd, was a leading painter in the Mannerist workshop in its early phase. He was a pupil and close follower of Myson, and eventually took over his position in the workshop. The Pig Painter and his workshop companion the Leningrad painter were also clearly influenced by their contemporary and superior, the Pan Painter. Beazley first used the term mannerist to denote a group of painters who, at a time of radical change in artistic expression with the emergence of a new Classical style, chose to adhere to the Archaic tradition. He later said that in using the word he had in the mind the Antwerp Mannerists of the early 16th Century and qualified the term with 'archaising' or 'sub-archaic', an archaism retaining old forms but refining, refreshing and galvanising them.
For the Pig Painter and his works see:
J. D. Beazley, Attic Red-Figure Vase-Painters, 2nd Edition, Oxford, 1963, pp. 562-566, 1659, 1701; and Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters, 2nd Edition, Oxford, 1971, pp. 389-390; L. Burn and R. Glynn, Beazley Addenda: Additional References to Attic Black-Figure Vase-Painters and Paralipomena, Oxford, 1982, p. 127; J. Boardman, Athenian Red Figure Vases: The Archaic Period, London, 1975, p. 180; L. Berge in W. Moon (ed.), Greek Vase-Painting in Midwestern Collections, Chicago, 1979, pp. 166-67, no. 95; J. R. Guy in Glimpses of Excellence; a selection of Greek Vases and Bronzes from the Elie Borowski Collection, Royal Ontario Museum, 1984, no. 14.; and M. Robertson, The Art of Vase-Painting in Classical Athens, Cambridge, 1992.
A. Greifenhagen, Alte Zeichnungen nach unbekannten griechiscehen Vasen, Munich, 1976, pp. 21, 27-28, nos. 10 and 14, Abb. 18 and 25 where D. von Bothmer concurs that the vase is by the Pig Painter.
The Pig Painter, so named after his pelike in Cambridge showing a man in company with a swineherd, was a leading painter in the Mannerist workshop in its early phase. He was a pupil and close follower of Myson, and eventually took over his position in the workshop. The Pig Painter and his workshop companion the Leningrad painter were also clearly influenced by their contemporary and superior, the Pan Painter. Beazley first used the term mannerist to denote a group of painters who, at a time of radical change in artistic expression with the emergence of a new Classical style, chose to adhere to the Archaic tradition. He later said that in using the word he had in the mind the Antwerp Mannerists of the early 16th Century and qualified the term with 'archaising' or 'sub-archaic', an archaism retaining old forms but refining, refreshing and galvanising them.
For the Pig Painter and his works see:
J. D. Beazley, Attic Red-Figure Vase-Painters, 2nd Edition, Oxford, 1963, pp. 562-566, 1659, 1701; and Paralipomena: Additions to Attic Black-Figure Vase-Painters and to Attic Red-Figure Vase-Painters, 2nd Edition, Oxford, 1971, pp. 389-390; L. Burn and R. Glynn, Beazley Addenda: Additional References to Attic Black-Figure Vase-Painters and Paralipomena, Oxford, 1982, p. 127; J. Boardman, Athenian Red Figure Vases: The Archaic Period, London, 1975, p. 180; L. Berge in W. Moon (ed.), Greek Vase-Painting in Midwestern Collections, Chicago, 1979, pp. 166-67, no. 95; J. R. Guy in Glimpses of Excellence; a selection of Greek Vases and Bronzes from the Elie Borowski Collection, Royal Ontario Museum, 1984, no. 14.; and M. Robertson, The Art of Vase-Painting in Classical Athens, Cambridge, 1992.