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Greek vases


            Vase painters were confronted with the problem of applying a two-dimensional technique to a three dimensional object. A number of vase painters have been successful in arranging their compositions to suit the available space. Some black figure artists include, Exekias: kylix, Exekias: belly amphora and Lydos vase. A number of red figure artists have also been successful, including: Euthymides, The Kleophrades Painter: pointed amphora, The Berlin Painter: volute krater, Makron and Euphronois. A white ground artist which has also been successful is The Penthesileia Painter: pyxis.
             One of the many successful black figure artists includes Exekias. One of the vases Exekias decorated was a kylix. In this particular vase Exekias uses the available space very successfully in order to arrange his composition. Exekias has decorated this vase with an intricate series of patterns in order to accentuate the shape of the vase. A series of concentric lines and bands have been painted at the base of the bowl in black and purple. A band of small stylized rays runs beneath these. He carefully separates the base of the vase from the rest of the bowl with a fillet or a band of rolled clay, using all the space wisely. .
             Two elaborately painted pairs of eyes set on either side of the cup is the focus of the exterior decoration. These eyes are called "apotropaic" and are supposedly magical. The eyes are set beneath a painted pair of eyebrows and two elongated tear ducts frame what is probably a small stylised nose. The decoration on either side of the cup is just as refined. There are two groups of three armed warriors fighting over a corpse under the root of the handles on both sides. Exekias has taken full advantage of all of the space available on the exterior of the vase, with the main focus as the eyes but at the same time filling in the empty space at the sides of the vase.
             The unique exterior decoration of the kylix scarcely prepares the viewer for what lies inside.


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