Attributed To:Manner of EUPHRONIOS by BEAZLEY EUPHRONIOS by FURTWÄNGLER
Decoration: A: STATUE OF HERAKLES ON BASE, INSCRIPTION B: AMAZON SHOOTING (AMAZONOMACHY)
Last Recorded Collection: Paris, Musée du Louvre: G107
Previous Collections:
Paris, Musée du Louvre: MNB1150
Publication Record: American Journal of Archaeology: 80 (1976) PL.55, FIG.3 (A) BEAZLEY DRAWING: 1 Beazley, J.D., Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963): 18.1, 1619 Beazley, J.D., Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963): 21 Beazley, J.D., Attic Red-figure Vase-painters, 1st ed. (Oxford, 1942): 18.2 Beazley, J.D., Attische Vasenmaler des rotfigurigen Stils (Tübingen, 1925): 61.1 Burn, L. and Glynn, R., Beazley Addenda (Oxford, 1982): 73 Carpenter, T.H., with Mannack, T. and Mendonca, M., Beazley Addenda, 2nd edition (Oxford, 1989): 153 Corpus Vasorum Antiquorum: PARIS, LOUVRE 6, III.Ic.25, PL.(412) 33.1-4 View Whole CVA Plates Furtwängler, A. and Reichhold, K., Griechische Vasenmalerei (Munich, 1904-32): II, 9 Hedreen, G., The Image of the Artist in Archaic and Classical Greece, Art, Poetry, and Subjectivity (Cambridge, 2016): 35-36, FIG.11-12 (A, B) Heilmeyer, W-D. and Giuliani, L. (eds.), Euphronios, der Maler, eine Ausstellung in der Sonderausstellungshalle der Staatlichen Museen Preußischer Kulturbesitz Berlin-Dahlem, 20.3. - 26.5.1991 (Milan, 1991): 151-153, NO.19 (COLOUR OF A AND B, PART OF A, DRAWING OF UF) Hesperia, The Journal of the American School of Classical Studies at Athens: 83.3 (2014), 475, FIG.10 (COLOUR OF B) Kiening, C. (ed.), Mediale Gegenwartigkeit (2007): 140, FIG.6 (A) Lexicon Iconographicum Mythologiae Classicae: I, PL.449, AMAZONES 65 (B) Lexicon Iconographicum Mythologiae Classicae: IV, PL.446, HERAKLES 16 (PART) Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung: 30 (1905) 389 Monuments et memoires publies par l'Academie des Inscriptions et Belles-Lettres: 9 (1902) 32, 35, 37 Münchner Jahrbuch der Bildenden Kunst: 25 (1974) 14-15, 20, FIGS.9-10, 14 (B, FOOT) Neer, R.T., Style and Politics in Athenian Vase-Painting, The Craft of Democracy, ca.530-460 B.C.E. (Cambridge, 2002): 120-121, FIGS.57-58 (A,B) Oakley, J.H. (ed.), Athenian Potters and Painters, Volume III (Oxford and Philadelphia, 2014): 51, FIG.3 (A) PHOTOGRAPH(S) IN THE BEAZLEY ARCHIVE: 10 (A, B, PARTS OF A AND B) Pottier, E., Vases antiques du Louvre (Paris, 1897-1922): PL.105 Steiner, A., Reading Greek Vases (Cambridge, 2007): 184-185, FIGS.8.14-8.15 (A, B) Yatromanolakis, D. (ed.), An Archaeology of Representations, Ancient Greek Vase-Painting and contemporary Methodologies (Athens, 2009): 217, FIGS.4-5 (A, B) de Cesare, M., Le statue in immagine, Studi sulle raffigurazioni di statue nella pittura vascolare greca (Rome, 1997): 57, FIG.10 (PART OF A)
CAVI Lemma: RF neck amphora. Smikros (Ohly-Dumm); manner of Euphronios (Beazley){1}. Last
quarter sixth. 510-500 (Denoyelle in `Euphronios').
CAVI Subject: A: Heracles. B: an Amazon, shooting.
CAVI Inscriptions: A: [hερα]κλεες. On the base on which Heracles stands, in BG: δοκεῖ :*
Σμίκ̣[ρ]ο̅ι :* ἰναι (for εἶναι){2}. B: behind the Amazon: Βαρκιδα. Under the
foot, Gr.: ΥΑΙΑΣ{3}.
CAVI Footnotes: {1} Euphronios (Williams). {2} for long iota = ει see Threatte (1980), 190f.
Beazley suggests ναι as an alternative, but that seems unlikely. I take the
inscription to be an incomplete kalos-statement of a not uncommon type: hο δεῖνα
καλὸς δοκεῖ Σμίκρο̅ι εἶναι, with the first half on a companion piece, as Beazley
suggested in BSA, rather than on the same vase (Beazley later suggested [καλος
hερα]κλεες, etc., not very happily). The inscription does not prove that the
vase was painted by Smikros; that attribution must be based on style. Bothmer
calls the base on which the inscription is written a cartellino; but important
figures are often placed on bases by the vase painters. {3} the same Gr. on
Leningrad 610, `Euphr.' no. 17, ARV[2] 18/2.
CAVI Comments: Robertson accepts Beazley's attribution to the manner of Euphronios. Simon
discusses the name Barkida, referring to the Barkidae in Carthage and the city
of Barka, a colony of Cyrene founded in mid-sixth. She thinks Euphronios was
thinking of the Western market. Furtw. in FR ii, 8 suggested that the Heracles
on A, as also the Heracles on the Arezzo krater, was inspired by the Heracles
Alexikakos of Hageladas; cf. S. Woodford, AJA 80 (1976) 293, pl. 55,3 (dr.). For
speculations on the Smikros inscription see Williams.
CAVI Number: 6451
AVI Bibliography: FR (1904–32), ii, 8-10 and 335. — Beazley (1911–12), 218, n. 1. — E. Pottier,
CVA Louvre 6, France 9 (1929), III I c, pl. 33,1-4. — [[Lippold (1954), 134–6
and pl. 27 (after FR)]]. — Bothmer (1957), 131/6. — ARV[2] (1963), 18/1, *1619.
— Add.[2] (1989), 153. — AttScr (1990), no. 401. — Denoyelle (1990), 137/19
(ill.; bibl.). — Simon (1991), 94. — Robertson (1992), 299 n. 89. — D. Williams
(1992), 91-92.
CAVI / AVI Data from Henry Immerwahr's Corpus of Attic Vase Inscriptions (CAVI), updated by Rudoph Wachter's Attic Vase Inscriptions (AVI)
