Attributed To: BERLIN P by TALCOTT GORGOS by SIGNATURE
Decoration: A: FIGHT, ACHILLES AND MEMNON, WOMEN (EOS AND THETIS ?) B: DIONYSOS SEATED WITH KANTHAROI AND VINE, BETWEEN MAENAD IN NEBRIS WITH OINOCHOE AND SATYRS, ONE WITH GOAT I: YOUTH KNEELING WITH STAFF AND HARE
Last Recorded Collection: Athens, Agora Museum: P24113
Publication Record: American Journal of Archaeology: 83 (1979) PLS.22-25, FIGS.1, 4-5, 8, 12; 85 (1981) PL.30, FIG.5 (I) Archaeology: JANUARY/FEBRUARY 1988, 64 (COLOUR OF A) Archeo, Attualita di Passato: 172 (JUNE 1999) 105 (COLOUR OF A) Beazley, J.D., Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963): 213.242, 1634 Beazley, J.D., Paralipomena (Oxford, 1971): 344 Beck, F., Album of Greek Education (Sydney, 1975): PL.60.307 (I) Boardman, J., Athenian Red Figure Vases (London, 1975): FIG.48 (I,A,B) Burn, L. and Glynn, R., Beazley Addenda (Oxford, 1982): 98 Camp, J.M., The Athenian Agora, Excavations in the Heart of Classical Athens (London, 1986): 134 (I) Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 196 Gebauer, J., Pompe und Thysia, attische Tieropferdarstellungen auf schwarz- und rotfigurigen Vasen (Münster, 2002): 707, FIG.76 (PART OF B) Geroulanos, S. and Bridler, R., Trauma, Wund-Entstehung und Wund-Pflege im antiken Griechenland (Mainz, 1994): FIG.20 (A) Hesperia, The Journal of the American School of Classical Studies at Athens: 55 (1986) 23, NO.25, PL.4 (B, DRAWINGS OF I,A, & B) Journal of Hellenic Studies: 103 (1983) PLS.3-4, 6F (I,A,B, PART) Kilmer, M.F., Greek Erotica on Attic Red-Figure Vases (London, 1993): PL. AT P.146, R351.1 (I) Lexicon Iconographicum Mythologiae Classicae: I, PL.138, ACHILLEUS 830 (A) Lexicon Iconographicum Mythologiae Classicae: III, PL.349, DIONYSOS 428 (B) Padgett, J.M. (ed.), The Berlin Painter and His World, Athenian Vase-Painting in the Early Fifth Century B.C., Princeton University Art Museum Monograph Series (New Haven and London, 2017): 30, FIG.9 (COLOUR OF I) Pedley, J.G., Greek Art and Archaeology (New Jersey, 1993): 195, FIG.6.76 (I, A) Pedley, J.G., Greek Art and Archaeology. Fifth Edition (London, 2011): 203, FIG.6.91 (COLOUR OF I AND A) Recke, M., Gewalt und Leid, Das Bild des Krieges bei den Athenern im 6. und 5. Jh. v. Chr. (Istanbul, 2002): PL.7B (A) Robertson, C.M., The art of vase-painting in classical Athens (Cambridge, 1992): 83, FIG.72 (A) Sparkes, B.A., The Red and the Black (London, 1996): 102, FIG.IV.8 (A) Sweeny, J. et al. (eds.), The Human Figure in Early Greek Art (Greece, 1987): 142-145, NO.51 (I, A, B, PARTS) The Athenian Agora, Results of Excavations conducted by the American School of Classical Studies at Athens: 30, PLS.129-130.1407 Thompson, D.B., An Ancient Shopping Center, The Athenian Agora (Princeton, 1971): FIG.67 (I)
CAVI Lemma: RF cup. From Athens, Agora Q 12:3. Very early Berlin Painter (?){1}. Gorgos,
potter. First quarter fifth. 500-490. Ca. 510-500 (Moore).
CAVI Subject: Int.: crouching youth with stick to right; hare to right. A: Achilles and
Memnon between Thetis and Eos. B: maenad with oinochoe and thyrsus and Dionysus
seated with kantharos and ivy branch.; at right, two satyrs and a goat.
CAVI Inscriptions: Int.: around the margin, starting near the youth's lower body: Γοργος
εποιεσεν. A: below the lip, horizontal and widely spaced : Κρ^ατε^ς{3}. B:
κ^α^λος{4}. I.e., Κρατες | καλος. Attic alphabet.
CAVI Footnotes: {1} Talcott, once Robertson [but see AJA 83 (1979) 170, n. 14]). For other
attributions see C.M. Cardon, G. Pinney, and D.C. Kurtz. Moore says not by
Berlin Painter. {2} Beazley: Talcott saw it might be by Berlin Painter; very
persuasively argued by Robertson "and I am inclined to accept it." "There are
great differences, but the resemblances seem to outweight them." "The heads are
not like the Berlin Painter; but the attitudes and the details of the bodies,
especially in Achilles and Memnon, are very like those that we know from him."
".. we are not absolutely sure that the Gorgos cup is by the Berlin Painter,
although we think it very likely." Beazley discusses inscriptions, pp. 75-76:
Kalos-name Krates is used by different artists and tells us little. Potter's
signature of Gorgos: the adj. means `fierce,' and is used especially of the
eyes; used as proper name, masc. and fem. (Gorgo). The shield device on the
Berlin Painter's Panathenaics is a Gorgon and Robertson suggests that it refers
to the name Gorgos. But Gorgos' signature is a potter's signature and he may or
may not be identical with the painter. {3} Achilles' and Memnon's heads
intervene. {4} the thyrsus and Dionysus' head intervene, the rest not being
visible in the ph., pl. 130 (done from the sketch). -Further notes: Robertson no
longer attributes to Berlin Painter; belongs to Group of vases placed by Beazley
around Salting Painter and Carpenter Painter; see Robertson (1992), . - Bothmer
(1986), 14: discusses Pinney's paper on the Nonage of the Berlin Painter, and
the Carpenter and Salting Painters. - Moore on attributions: Talcott first to
attribute to Berlin Painter; Robertson (1958) supported this attribution, but he
no longer believes this. Beazley tended to agree (the Melbourne book) and
included it as Berlin Painter in Add.[2] and Para. Cardon att. to Phintias
workshop and named artist the Gorgos Ptr. Pinney accepted the att. to the Berlin
Ptr., and formed a group of his earliest work, including Carpenter Ptr. and H.P.
Ptr. Kurtz withdrew the cup from work of Berlin Ptr., and Moore agrees; she does
not give an attribution.
