GENERAL DESCRIPTION
The primary scene on this black-figure column krater is of a boisterous group of dancing satyrs and maenads who cluster about a single bearded male figure. These wildly gesticulating revelers are the companions of Dionysus, who is recognizable as the central figure, clad in a long robe and holding a drinking horn in his left hand. Dionysus was a latecomer to the Olympic pantheon, yet he was especially favored by Athenian vase painters from about 580 BCE. Dionysiac revelry was a popular subject in Greek art soon after this date. Satyrs, with their equine ears and tails, are uninhibited creatures with strong tastes for wine, women, and song. Maenads are "crazed women" who draw the inspiration for their ecstatic mood from Dionysus, the god of ecstasy and abandonment of the rational. The frenzied state of the revelers, however, is contrasted with the sedate and restrained pose of Dionysus himself, as seen on this vase. The direction of Dionysus's slow pace indicates a movement of the group to the right with the god in the center of his fold. Such scenes on Athenian vases are sometimes expanded to include the returning outcast Hephaestus, god of crafts and magic, being led back to Olympus by Dionysus, who intoxicated his half brother with wine.
The reverse of this column krater does not, however, include an image of Hephaestus, but simply a single bearded male figure clad in in robe similar to that of Dionysus. He is flanked by two pieces of cloth, which seem to float mystically in midair but are actually draped over pegs on the wall, and in turn by two heraldically placed lions with flicking tails and reversed heads. The man has been segregated from the lions by vertical rows of black dots, thereby excluding any narrative theme and leaving the lions with little more than a decorative function. The two sides of the krater are separated from one another by a great bird in flight under each handle. Bearded male heads adorn the handleplates on the vase rim, which is decorated with wavy lines that recall the rippling action created by stirring the vase's contents.
Adapted from
Anne R. Bromberg, and Karl Kilinski II, Gods, Men, and Heroes: Ancient Art at the Dallas Museum of Art. (Seattle: University of Washington Press, 1996), 63.
NOTES
added Gods Men hero entry in TMS as a text entry
fun fact Source
Notes from visit of 24 April 1987 with Arielle Kozloff and Carlos Picon found in Collections Records Object File 1972.22
The primary scene on this black-figure column krater is of a boisterous group of dancing satyrs and maenads who cluster about a single bearded male figure. These wildly gesticulating revelers are the companions of Dionysus, who is recognizable as the central figure, clad in a long robe and holding a drinking horn in his left hand. Dionysus was a latecomer to the Olympic pantheon, yet he was especially favored by Athenian vase painters from about 580 B.C.E. Dionysiac revelry was a popular subject in Greek art soon after this date. Satyrs, with their equine ears and tails, are uninhibited creatures with strong tastes for wine, women, and song. Maenads are "crazed women" who draw the inspiration for their ecstatic mood from Dionysus, the god of ecstasy and abandonment of the rational. The frenzied state of the revelers, however, is contrasted with the sedate and restrained pose of Dionysus himself, as seen on this vase. The direction of Dionysus's slow pace indicates a movement of the group to the right with the god in the center of his fold. Such scenes on Athenian vases are sometimes expanded to include the returning outcast Hephaestus, god of crafts and magic, being led back to Olympus by Dionysus, who intoxicated his half brother with wine.
The reverse of this column krater does not include an image of Hephaestus but simply a single bearded male figure clad in in robe similar to that of Dionysus. He is flanked by two pieces of cloth, which seem to float mystically in midair but are actually draped over pegs on the wall, and in turn by two heraldically placed lions with flicking tails and reversed heads. The man has been segregated from the lions by vertical rows of black dots, thereby excluding any narrative theme and leaving the lions with little more than a decorative function. The two sides of the krater are separated from one another by a great bird in flight under each handle. Bearded male heads adorn the handleplates on the vase rim, which is decorated with wavy lines that recall the rippling action created by stirring the vase's contents.
The painter of Louvre F6, named for a hydria, or water jar, in Paris that is also decorated with a Dionysiac revelry, was a companion of the master painter Lydos. The choice and arrangement of subjects on the column krater, including the snarling lions on the reverse and the soaring birds under the handles, as well as the vase shape itself, are all familiar traits of Lydos's work.
Excerpt from
Anne R. Bromberg, and Karl Kilinski II, Gods, Men, and Heroes: Ancient Art at the Dallas Museum of Art. (Seattle: University of Washington Press, 1996), 63.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1972: Elie Borowski, Basel, Switzerland
From 1972: Dallas Museum of Fine Arts, gift of the Jonsson Foundation and Mr. and Mrs. Frederick M Mayer, purchased from above (accessioned October 6, 1972) [1], [2]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[2] See Acquisition Record in the Collections Records Object File 1972.22
AUDIO ASSETS
264187798: UMO. Listen to Jean Kazez, Dr. Amy Freund, and Andrea Severin Goins discuss works in the DMA's collection that shed light on the good, the bad, and the middle ground of various moments in history.
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
- This krater, which was intended for mixing water and wine for symposia, has been reconstructed from fragments.
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Apply to objects where number equals 1972.22
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General Description
The primary scene on this black-figure column krater is of a boisterous group of dancing satyrs and maenads who cluster about a single bearded male figure. These wildly gesticulating revelers are the companions of Dionysus, who is recognizable as the central figure, clad in a long robe and holding a drinking horn in his left hand. Dionysus was a latecomer to the Olympic pantheon, yet he was especially favored by Athenian vase painters from about 580 BCE. Dionysiac revelry was a popular subject in Greek art soon after this date. Satyrs, with their equine ears and tails, are uninhibited creatures with strong tastes for wine, women, and song. Maenads are "crazed women" who draw the inspiration for their ecstatic mood from Dionysus, the god of ecstasy and abandonment of the rational. The frenzied state of the revelers, however, is contrasted with the sedate and restrained pose of Dionysus himself, as seen on this vase. The direction of Dionysus's slow pace indicates a movement of the group to the right with the god in the center of his fold. Such scenes on Athenian vases are sometimes expanded to include the returning outcast Hephaestus, god of crafts and magic, being led back to Olympus by Dionysus, who intoxicated his half brother with wine.
The reverse of this column krater does not, however, include an image of Hephaestus, but simply a single bearded male figure clad in in robe similar to that of Dionysus. He is flanked by two pieces of cloth, which seem to float mystically in midair but are actually draped over pegs on the wall, and in turn by two heraldically placed lions with flicking tails and reversed heads. The man has been segregated from the lions by vertical rows of black dots, thereby excluding any narrative theme and leaving the lions with little more than a decorative function. The two sides of the krater are separated from one another by a great bird in flight under each handle. Bearded male heads adorn the handleplates on the vase rim, which is decorated with wavy lines that recall the rippling action created by stirring the vase's contents.
Adapted from
Anne R. Bromberg, and Karl Kilinski II, Gods, Men, and Heroes: Ancient Art at the Dallas Museum of Art. (Seattle: University of Washington Press, 1996), 63.
Fun Facts
- This krater, which was intended for mixing water and wine for symposia, has been reconstructed from fragments.
Archival Resources
Web Resources
Notes
added Gods Men hero entry in TMS as a text entry
fun fact Source
Notes from visit of 24 April 1987 with Arielle Kozloff and Carlos Picon found in Collections Records Object File 1972.22
The primary scene on this black-figure column krater is of a boisterous group of dancing satyrs and maenads who cluster about a single bearded male figure. These wildly gesticulating revelers are the companions of Dionysus, who is recognizable as the central figure, clad in a long robe and holding a drinking horn in his left hand. Dionysus was a latecomer to the Olympic pantheon, yet he was especially favored by Athenian vase painters from about 580 B.C.E. Dionysiac revelry was a popular subject in Greek art soon after this date. Satyrs, with their equine ears and tails, are uninhibited creatures with strong tastes for wine, women, and song. Maenads are "crazed women" who draw the inspiration for their ecstatic mood from Dionysus, the god of ecstasy and abandonment of the rational. The frenzied state of the revelers, however, is contrasted with the sedate and restrained pose of Dionysus himself, as seen on this vase. The direction of Dionysus's slow pace indicates a movement of the group to the right with the god in the center of his fold. Such scenes on Athenian vases are sometimes expanded to include the returning outcast Hephaestus, god of crafts and magic, being led back to Olympus by Dionysus, who intoxicated his half brother with wine.
The reverse of this column krater does not include an image of Hephaestus but simply a single bearded male figure clad in in robe similar to that of Dionysus. He is flanked by two pieces of cloth, which seem to float mystically in midair but are actually draped over pegs on the wall, and in turn by two heraldically placed lions with flicking tails and reversed heads. The man has been segregated from the lions by vertical rows of black dots, thereby excluding any narrative theme and leaving the lions with little more than a decorative function. The two sides of the krater are separated from one another by a great bird in flight under each handle. Bearded male heads adorn the handleplates on the vase rim, which is decorated with wavy lines that recall the rippling action created by stirring the vase's contents.
The painter of Louvre F6, named for a hydria, or water jar, in Paris that is also decorated with a Dionysiac revelry, was a companion of the master painter Lydos. The choice and arrangement of subjects on the column krater, including the snarling lions on the reverse and the soaring birds under the handles, as well as the vase shape itself, are all familiar traits of Lydos's work.
Excerpt from
Anne R. Bromberg, and Karl Kilinski II, Gods, Men, and Heroes: Ancient Art at the Dallas Museum of Art. (Seattle: University of Washington Press, 1996), 63.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1972: Elie Borowski, Basel, Switzerland
From 1972: Dallas Museum of Fine Arts, gift of the Jonsson Foundation and Mr. and Mrs. Frederick M Mayer, purchased from above (accessioned October 6, 1972) [1], [2]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[2] See Acquisition Record in the Collections Records Object File 1972.22
AUDIO ASSETS
264187798: UMO. Listen to Jean Kazez, Dr. Amy Freund, and Andrea Severin Goins discuss works in the DMA's collection that shed light on the good, the bad, and the middle ground of various moments in history.
VIDEO ASSETS
rules
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