Makron Skyphos

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Makron Skyphos
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OUTLINE OF PRESENTATION

• Attribution details
• The Shape
• The Scene, Side A
• Composition of Side A
• Painting Technique
• The Scene, Side B
• Composition of Side B
• Narrative technique
• The Style

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Attribution details

• Name Skyphos
• When made 490- 480 BC
• Size 21.5cm
• Potter Hieron
• Painter Makron

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• How do we know
• We know Hieron and Makron have both signed their
  names at the
• handles on the Skyphos vase.
• HIERON EPOIESEN
• "Hieron made (it)
• MAKRON EGRAPHSEN"Makron drew (it)"

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Shape

• 1.The vase shape is a Skyphos.
• 2. Use For drinking wine.

• 3.The Skyphos vase is perfect for its shape the
  shape consists of a huge deep drinking cup for
  wine at symposiums.
• - Because of the huge space of the frieze it gave
  Makron the opportunity to draw detailed figures
  and decoration.

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The Scene, Side A
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The Scene, Side A

• Left to Right
• Aneaus, Paris, Eros, Helen, Aphrodite, Peitho
  (persuasion) and Helens son,

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The Scene, Side A

• The myth being shown is the seduction of Helen.
• Paris is leading Helen away from Sparta and the
  Palace of Menelaos.
• Aeneaus accompanies Paris, Aphrodite, and Eros
  drag Helen away. Peitho (persuasion) follows
  behind them.
• The boy underneath the handle is thought to be
  Helens son.

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What emphasises the seductive nature

• Paris leads Helen by the arm. Rather
• than by abducting her, and not evoking any
• scared, frightened emotions, she is seduced
• by Paris which is quite the opposite
• response.
• Also Aphrodite and Eros (Aphrodite's son) are
  both associated with lust and love.

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Composition of Side A

• The reason as to why the figure of the boy
• helps to continue the story around the frieze.
• The thing that contemplates him
• King Priam. Although sitting down he too, is the
  same height as the boy, underneath the same
  handle as well.

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Composition, Side A
The central figures Helen, Paris and Aphrodite

• What unites the two figures
• Paris touch on Helen's hand
• the spear that links both, which goes across, in
  the front of Paris body down towards Helens
  legs,
• Eros, and how he is flying above their heads,
  linking the two.

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Composition, Side A

• Simple ways Makron has
• managed to show depth
• most of the frieze is
• compacted by layers and
• masses of billowing drapery, which portrays
• Overlapping of drapery. Secondly
• is the position of Aeneas shield
• Paris spear and how both
• armory overlap each other. This indicates that
  the painter wants to show the depth in the scene.

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Composition, Side A

• Extra points about the composition of Side A in
  the scene is the painting or story continuing.
  The little boy underneath the handle portrays
  that the story continues on the other side of the
  vase. Another is the size of Eros. It is the way
  he is positioned and his size that gives a three
  dimensional effect as well as the painter wanting
  to show the distance between characters.
• Another is Paris legs. You see how they are
  stretched apart, this shows that he and Aeneaus
  are both rushing to abduct Helen and get her out
  of Menelaos palace. Another is muscles are drawn
  very detailed showing strained and

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Painting Technique

• A red figure painting technique was used.
• The person carrying the shield is Aeneaus, Paris
  soldier companion.
• The lion has been colored in diluted glaze.
• The sandals have been colored in diluted glaze.
  Which is showing technical details.

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Painting Technique

• The painting technique shown between these 2
  figures is how the drapery forms in thin, precise
  lines. This is called incised detail, where in
  the drapery it creates an 3 dimensional effect.
  Such as, if the drapery looks either light or
  heavy material.
• Another painting technique is the zig zags in the
  drapery. Because of this it creates a feeling of
  depth and airy.

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The Scene, Side B

• The person seated in the chair is King Priam.
• So the myth is about how Paris dies, and it is
  the end of the Trojan war. Menelaus reclaims
  Helen. In the frieze the scene depicts of Helen
  trying to escape from Menelaus as he knows she
  has been unfaithful. But something stops Menelaus
  from killing her, Menelaus has seen the beauty of
  Helen and straight away drops his sword and
  forgives her.

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The Scene, Side B

• This scene relates to Side A because obviously it
  is a continuation of the myth. In Side A it was
  the beginning of the Trojan War and Helens
  unfaithfulness. As the Trojan War ends this is
  portrayed in Side B, as the scene is about
  Menelaus almost killing her for being unfaithful,
  however forgives her instead. In Side B Aphrodite
  and Peitho, Helens maidservants accompany her as
  she is returned to Menelaus.

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Composition of Side B

• The Central focus is Menelaus and Helen.
• What makes them the central focus is their pose.
  Both figures are the only ones out of all
  characters who have a lot of movement going on.
  Such as their legs are bent, arms stretched.
  Helens frontal pose shows the incised detail of
  the drapery, and she is the only one who is in a
  frontal pose. Another is Menelaus shield that has
  a bull on it. The only animal that is there which
  makes it the central focus.

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Composition, Side B

• One point is of King Priam. His throne or chair
  really stands out, as it shows a lot of detail.
• Second point is that all characters are the same
  height, including the King Priam and he boy and
  are all on the same ground line.
• Third is that there are no spaces. The painter is
  not comfortable to leave any gaps.

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The style
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The Meidias Painter vase

• Date 410 BC
• Type Hydria, Red figure
• Potter Meidias
• Painter Meidias Painter
• Height 52.2 cm
• The Meidias Painter vase

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The style

• Elegant poses and elegant drapery. The figures
  are delicate and movement convincing.
• Graces are delicate and graceful.
• Fine and elegant, bodies underneath.
• Drapery follows form, clinging to the body.
• Multiple lines around the body, fluttering away
  suggesting movement.