1. Kleophrades:
Pointed amphora

2. about the painter
 Kleophrades worked in Athens between a period of 505BC to
475BC.
 Over 100 vases attributed to him survive today.
Identified on one vase as being the son of Amasis
 It is likely he was a pupil of Euthymides (a red figure
pioneer)
 Sometimes worked in black figure.
 Favoured decorating large vases.
 Most of his subject matter was scenes taken from the
pioneers, but also did scenes from the Trojan War.

3. the vase
Date: c.500-490BC
Vase: Pointed Amphora
Potter: Kleophrades
Painter: Kleophrades
Height: 56cm
Technique: Red figure technique
Use of vase: This type of vase was
used for holding wine and oil. Because
of the shape of the vase a stand was
needed for it to remain upright. This
meant that it was not often chosen for
decoration by painters.
Composition: This vase is divided
into 3 main bands. One on the neck, a
large one on the body which takes up
about ¾ of the space and a smaller
band above the foot of the vase.
Side A
Side B

4. Decoration
Side A

5. decoration: neck
Side A
Three youths are depicted playing with spears. Each youth stands with their legs
apart, and face to their right. The first youth carries several spears and a discus lies on
its edge on the ground between his legs. The second youth has his right leg off the
ground and carries a spear over his shoulder with his right arm. The third youth has
his right foot forward and carries a discus in his right hand. A pick is lying on the
ground behind the second and third youth.
Discus
Pick-axe
Spear/javelin

6. decoration: body
Side A
Dionysos the centre
figure on Side A.
•Wears a chiton and
himation. Both items of
clothing detailed.
•Leopard skin cloak,
front legs of skin
knotted around his
neck.
•His left arm is raised and
holding a vine branch
with purple leaves.
•His head is turned to his
right to look behind him.
•Wears a crown of purple
ivy leaves.
•As he turns his head his
hair (painted in ringlets)
fans out over his
shoulders.
•He holds an empty metal
kantharos in his left
hand.
•Feet are facing to his
left.
Dionysus

7. decoration: body
Side A
• This maenad stands to the
right of Dionysus (left when
looking at the vase, right from
Dionysos’ P.O.V.)
•She wears a detailed chiton and
himation also.
•She wears a deer skin over her
garments.
•She wears a sakkos on her
head. Though some hair has
escaped from beneath it in her
revelry.
•In her right hand she holds a
thyros to defend herself from
the satyr.
•A Thyrsos is a staff made
from a large fennel stalk,
topped with a cap of ivy
leaves. It is used to fend off
the attentions of the satyrs.
•Her legs and feet are facing
Dionysus.
•Her torso and head are facing
her attacker.
•In her left hand she holds a
snake which hisses at the satyr

8. decoration: body
Side A
• This maenad stands to the left
of Dionysus (right when
looking at the vase, left from
Dionysos’ P.O.V.)
•She wears a detailed chiton and
himation also.
•She wears a sakkos on her
head. Though some hair has
escaped from beneath it in her
revelry.
•In her right hand she holds a
thyros to defend herself from
the satyr.
•She is using her left arm to
also fend off the attacker.
•Her torso and head are facing
her attacker.
•Her feet are facing Dionysus.
Maenad 2

9. decoration: base
Side A
 The large main band is finished with a motif of meanders and saltires.
 The large main band and the last main band are separated by a large area of glossy black slip.
The last main band consists on stylised rays in the black figure technique.

10. Decoration
Side B

11. decoration: neck
Side B
As on side A, side B has a second grouping of 3 athletes with spears and a discus. On the
wall hangs a sponge bag and an aryballos used for applying oil to their bodies.
Athlete 1, holds a spear and faces to his right. His body is fully profile with a frontal eye.
Athlete 2 faces his right and holds a discus in his right hand. Athlete 3 faces his left and
holds a spear in his right hand, his head is down concentrating on something. As on side A
all three athletes have their legs apart.
Aryballos
Discus
Spear/javelin

12. decoration: body
Side B
•This satyr stands in the middle
if the main band on side B.
•This satyr is shown with a
frontal head and torso, profile
legs and tail.
•Inscription: “kale” the
masculine form of “beautiful”.
•Satyrs are bearded, hairy, goat-
like creatures. They have goaty
features and tails. They follow
Dionysos becaue they enjoy
drinking, dancing and mischief.
•Satyr shown fully naked except
for a deer skin.
•Wears a wreath of purple leaves
on his head.
•Very comical looking with erect
phallus.
•Plays the aulis, the double flute.
•Legs are apart and slightly bent at
the knees.
•His left heel is raised off the
ground slightly.
•His movement is to his left.
•His body is slightly bent over
with playing the aulus.
Satyr

13. decoration: body
Side B
•She stands to the right of the
satyr.
•She sways in time to the music.
•She faces away from the satyr,
to her right.
•Carries a thyros over her right
shoulder.
•As she moves her drapery
swirls and flares around her
ankles and behind her.
•This maenad has blonde hair,
achieved by layering dilute
honey coloured glaze.
•Her blue eyes were achieved
by painting a ring of black
with a red dot in the centre.
•She appears oblivious to the
snake winding itself around
her left arm.
•Also wears a deer skin.
•Her head is tilted back.
Maenad 1

14. decoration: body
Side B
•She stands to the left of the
satyr.
•She seems frozen in her dance
•She faces away from the satyr,
to her right.
•Carries a thyros over her right
shoulder. She twists her thyros
in her hands.
•As she moves her drapery
swirls and flares around her
ankles and behind her.
•.This maenad has dark curly
hair. She doesn’t wear a
sakkos like the maenads on
side A.
•Her head is thrown back and
she looks like she is howling.
•Her right foot is in profile
and has come out of the frame
which adds depth to the scene.
•Inscription: “kalos” in front
of her face. This is the
feminine form of “beautiful”.
Maenad 2

15. Mood
The mood of the decoration is one of
happy, carefree abandon
This is achieved by:
• the body positions – raised heels, bent knees,
swinging arms, heads back
• careless poses – thyroi thrown over shoulders,
Dionysos’ kantharos swinging
• clothing sways with bodies’ movements
• facial expressions – mouths open as if singing, eyes
staring as if in a trance
• satyrs’ nudity and erections suggest an element of
sexual ecstasy as well

16. Symmetry: body
Side A
Symmetry created by
having the two
maenads on either
side of Dionysus.
Perfect symmetry
broken by Dionysus’
lean and the positioning
of the maenads thyroi.
The maenads
heads and
bodies mirror
each other,
with the
exception of
their arms
breaking
symmetry.

17. Symmetry: body
Side B
The head and thyros’
that the two maenads
carry are in mirrored
positions.
A symmetrical pattern
is achieved with the
two maenads either
side of the satyr.
Perfect symmetry is
broken by the satyr’s pose
and the positioning of the
maenads arms.

18. Drapery
The Maenads are dressed in himations and
chitons.
– Himations are flowing – they flare out as the
maenads dance. The corners fall in swallow
points.
– Chitons move with the bodies underneath them.
They are almost transparently thin, and they fall in
folds. The fold lines are painted much closer
together to show the difference in the weight of the
material, compared with the himation.

19. Dilute glaze could then be painted or syringed on to
add extra detail or depth.
Here is has been used for a number of things:
• The kantharos carried by Dionysos
• The hair of one of the maenads
• Added honey coloured glaze has been used to create
intricate lines and zigzag folds on the maenad’s
clothing.
• The snake and deer skin on the first maenad on
Side A has been detailed with honey coloured glaze.
• Purple glaze has been used for the leaves and
wreaths.
• Yellow and blue has been used to highlight and
distinguish one maenad from the other.

20. realism
How has the artist tried to create realism in the vase painting?
 Drapery follows the lines of the body.
The bodies are fully profile.
 The relief line is used to define musculature.
 Hair has come loose from the maenad’s sakkos.
 The bodies are more in proportion.
 The poses are more naturalistic, maenads are “frozen” in position.
 The female poses are more realistic than that of the satyrs and Dionysus.

21. detail
What has the artist used to create detail?
 The ruffles and folds of Dionysus’ chiton and himation.
 Added honey coloured glaze has been used to create intricate lines and zigzag folds on
the maenad’s clothing.
 We can see the outline of Dionysus’ legs beneath
the clothing.
 The snake and deer skin on the first maenad on
Side A has been detailed with honey coloured glaze.
 Purple glaze has been used for the leaves and
wreaths.
Yellow and blue has been used to highlight and
distinguish one maenad from the other.