Terracotta Column-krater

Terracotta column-krater

Joseph Parish

I believe that of all the ancient art periods, which we have evolved through perhaps those artistic endeavors of the Greeks, impressed me the most. I have been fortunate enough to actually view several of these art forms in person, while passing through Athens and even purchased replicas of the vases for my relatives.

Around 400 BC, Athens became the dominant influence politically, economically, and culturally not merely within the Mediterranean region, but universally accepted within the known civilized world. Perhaps the major force behind the Athens artistic movement was the statesmen Pericles, who transformed Athens, famed Acropolis into a monument honoring the city’s patron goddess Athena. Upon first glance, the creation exemplified both the architecture, and the sculptural stateliness often associated with Greek art. A walk inside the Doric temple will reveal an elaborate statue dedicated to Athena, and sculpted by Pheidias. The marble building is adorned with ample examples of sculpture representing the Greek classical style. Since logic was a highly prized trait amongst the Greek citizen’s, efforts were expanded to include both practical and artistic undertakings known in ancient Greek circles as attic vase painting. The most notable of these terracotta creations were the red figured vases which superseded the black figure pottery techniques.

As the black figure technique took hold, great achievements were accomplished in the artist’s portrayal of the human body. Various poses were displayed from a person at rest, many of those showed various motions and assorted actions. Outstanding in their dedicated work as prominent vase painters, were such talents as Douris, Kleophrades, and Makron. Each possessed a god given gift for exquisite detail.

Although I enjoy viewing both color combinations equally, I have chosen for this rant to discuss the terracotta red figured column-krater, as found in the Metropolitan Museum of Art. Please keep in mind that the term column-krater in its simplest meaning is nothing more than pottery. This bowl or vase was often used for mixing wine or water, and was popular during the late classical period. Its height is slightly short of two feet tall. On its obverse side the artist has painted a statue of Heracles while on the reverse can be viewed Athena in consort with her peer deities.

What makes this work of art so unusual is the actual labor that is being portrayed on it. The artist has illustrated a rare scene showing a craftsman in the act of applying pigment to one of his sculptures. As can be seen, the bowl indicates an interior space suggestive of perhaps a sanctuary. This would indicate that possibly the column-krater was being employed for religious purposes.

In support of this concept we see a statue of Heracles with the painter busy at his trade and being artistically characterized by the garments which he wears. The process which the artist is using makes use of pigments and wax as his media, and a small boy can be seen tending to the heating rods which melts and spreads the wax. Above the scene we view Zeus and Nike watching closely, as if silently guiding the artist’s hands. On the reverse side of the vase is displayed an outdoor scene with Athena having a conversation with Castor and Pollux or as these twin brothers were commonly known as “the Dioskouroi”. Several major players are present in this scene, as we see Hermes turning away from Pan, while Eros joyfully plays with a small bird.

Now that we have briefly described the art work, let’s move into a more detailed description of the work as viewed through the eyes of an art critic. The lines of this vase are graceful in its flowing composition, yet provide a strong and intense masculine feeling. Perhaps the natural, dark, cold colors give one this impression. When viewing this art, we must use great discipline to prevent our fingers from personally examining the solid combination of round and conical forms.

The art object is easy on the eyes, as you merely have two low keys but neutral shades to discern. Its size is small enough to be easily viewed close-up, but not too small that one could not comprehend the images created by the artist. Lastly, the surface texture presents a smooth, hard, dry matte appearance. Of interest at this point is that many of the duplicates created for tourists are generally high gloss as it had been determined that although the art is appreciated greatly by the masses, a high gloss vase fits better in modern home decorations. Personally, I prefer the original matte finish and when complimented with the two-color combination, it quickly catches my attention as I am approaching the piece.

Based upon what was revealed in the vase image above, I would conclude that the artwork was created principally as a wine vessel for religious reasons. We are afforded a view of the god Zeus patiently watching with excitement, as he anticipates the artist’s completion of his assignment. The wine vase gives me a feeling of relaxation which likely results from only viewing two color combinations. This type of blending sends messages of reverence to the viewer, as we watch the ancient gods, offering support to the mortal elements below. In all, the entire concept presented would likely convey a tale of how mankind often attempts to appease their gods.

When I initially approach an object of this nature, I am attracted by its colors or in some artistic circles its lack of tints. If I were to judge this work, I would first off say, “Pack it up so I can take it home”. However, on a more serious note, I feel it is typical of the Greek art for that time period. The vases elements move together in unison and overall the work cannot be compared to any other cultural time frame. To classify by purpose would place this object high on the critic’s recommendations. It begs the gods to drink of its wine and review the artist’s intentions.

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