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Lot Essay
Depicted on the obverse is a youth, nude but for a chlamys over his shoulders, holding a spear and wearing a petasos, between two draped women, the one to the left seated and holding a mirror.
The Creusa Painter belongs to the second generation of Lucanian vase-painters. As A.D. Trendall observes (op. cit., 1967, p. 86), while the Creusa Painter is a competent draughtsman, his figures are rendered with “a distant, even a frozen, look, as if they had but little interest in what is going on around them…even though they may be hotly pursued…they remain remarkably disinterested, and in general seem to contemplate life with a benevolent look of no enthusiasm.” Trendall (op. cit.) considers this krater to be from the Creusa Painter’s early period and that it is of better quality than its Amykan or PKP Group predecessors. Also noteworthy are the ancient repairs made to the present vase’s foot.
The Creusa Painter belongs to the second generation of Lucanian vase-painters. As A.D. Trendall observes (op. cit., 1967, p. 86), while the Creusa Painter is a competent draughtsman, his figures are rendered with “a distant, even a frozen, look, as if they had but little interest in what is going on around them…even though they may be hotly pursued…they remain remarkably disinterested, and in general seem to contemplate life with a benevolent look of no enthusiasm.” Trendall (op. cit.) considers this krater to be from the Creusa Painter’s early period and that it is of better quality than its Amykan or PKP Group predecessors. Also noteworthy are the ancient repairs made to the present vase’s foot.