By Clemente Marconi, Columbia University. Center for the Ancient Mediterranean

This quantity offers with Greek painted vases, exploring them from numerous methodological issues of view and relocating past the conventional concentrate on connoisseurship and elegance. the amount, which represents the complaints of a world convention sponsered through the guts for the traditional Mediterranean at Columbia collage, is an attempt to take advantage of the monstrous richness of those vases by utilizing them to review common cultural historical past.

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Additional info for Greek vases, images, contexts and controversies: proceedings of the conference sponsored by the Center for the Ancient Mediterranean at Columbia University, 23-24 March 2002

Sample text

Barringer know of four depictions from the fourth century on which Atalanta appears: a Kerch pelike of ca. 370 in St. Petersburg,38 an Apulian panathenaic-shaped amphora of ca. 350 in Trieste (Fig. 7),39 an Apulian volute-krater of ca. 340 now lost (Fig. 8),40 and a Lucanian nestoris of ca. 41 On the first three, Atalanta is the only archer, and in each instance, she wears Skythian or other northern or eastern attire. The phenomenon of Atalanta as Skythian occurs twice more on two vases that portray post-hunt activities: an Attic red-figure calyx-krater of ca.

No. 217. 18 For hoplites and for recent controversies about hoplitic warfare an excellent overview is offered by Cartledge 1996 (see esp. —For representations of battle in Archaic art (heroic and hoplitic) see more recently Förtsch 2001, 115ff. images for a warrior 33 supporting the opposite claim that this type of shield was actually used. 19 A third element pointing in the same direction must have been the Skythian archers on the first and third amphora. 20 It should be added that these exotic figures are not exclusively found in Athenian vases.

The phenomenon of Atalanta as Skythian occurs twice more on two vases that portray post-hunt activities: an Attic red-figure calyx-krater of ca. 400–375 in Würzburg (Fig. 9),42 where Meleager places his hand on Atalanta’s shoulder; and an Apulian amphora of ca. 330 in Bari (Fig. 10),43 where Meleager presents the boar’s hide to a seated Atalanta. In both instances, Atalanta is seated and holds spears, not a bow and arrow. Remarkably, Meleager and another hunter standing nearby on the Würzburg krater also sport the richly ornate dress worn by Atalanta although only she wears high boots.

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