![]() ![]() The Etruscan consumers of eye cups made conscious choices regarding their purchase and usage. Workshops were clearly aware of their audiences at home and abroad and shifted production and distribution of vases to suit. Indeed, the earliest, largest, and highest-quality (to modern eyes) examples were exported to Etruria, where the symposion as the Athenians knew it did not exist. Although many eye cups have been found in Athens - namely on the Acropolis and mainly from late in the series - the majority come from funerary, sanctuary, and domestic contexts to the west and east. Such emphases, however, neglect chronology and distribution, which reveal the complexity of the pottery market in the late sixth and fifth centuries B.C.E. With him are three goddesses, probably his sister Artemis (facing him), together with Hera (wearing a crown and holding a scepter and libation dish), and Hebe, the daughter of Zeus and Hera, on her way to meet her future husband, Herakles."Since the late 1970s, scholars have explored Athenian eye cups within the presumed context of the symposion, privileging a hypothetical Athenian viewer and themes of masking and play. The chariot scene on the main side of the vessel is a divine one, as indicated by the presence of Apollo, identified by his lyre and laurel wreath. Other vases by the Cleveland Painter are now in New York, Vienna, Paris, and Copenhagen, as well as museums in Greece and Italy. Beazley, named him (or her) the Cleveland Painter, after our city. Since this column-krater is the most important of 12 vases painted by a Greek artist whose name is unknown, the great English vase expert, Sir John D. The Cleveland Museum of Art, Purchase from the J. Attributed to Cleveland Painter (name vase Greek, Attic, active c. Red-Figure Column Krater (Mixing Vessel): Apollo and Goddesses with Chariot (A) Komos (Revel) (B), c. ![]()
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