The

Berlin
Painte
r

White text: p.54-55

Black text: p.69-73
The Berlin Painter
The Berlin Painter never signed his
name. He is named after an amphora
which was found in Berlin.
He worked in Athens around 500 BC.
Along with the Kleophrades Painter he
was one of the most important Red-
Figure artists of the period.
His vases show a high degree of artistic
skill. His figures are delicate and
accurate.
Shape: Volute
krater
Function: mixing
wine and water.
Painter: Berlin
Painter
(attributed)
Potter: unknown
Technique: red
figure
Date: c.500 - 480
B.C
Dimensions

Height: 65 cm
Inscriptions
The figures have their names painted
beside them.
Neither the potter nor the painter signed
their names.
Decoration Overview

One of the artist’s favourite compositions was spotlighting a single figure against a black
background with no framing panel. In this way they appear light and graceful, as if floating
on the vase.
There is no decoration on the body of the vase, except for a coating of shiny black glaze
and a band of stylised rays at the base of the belly.
Decoration Overview
This vase (like the Kleophrades
Painter’s Hydria) is a reversal of the
major vase decorating trend – no
decoration on the body, and all the
action around the neck.
The Berlin Painter has placed all the
painted detail on the neck and
handles of the vase to emphasise its
elegant volute shape.
The scenes depicted are framed by a
large frieze of mirrored lotus and
palmettes and a band of stylised
Each side recounts a battle fought
by the Greek hero Achilles during
the Trojan war and is composed of
four figures set in a symmetrical w-
shaped grouping, which
deliberately mimics the wide
mouth and narrow base of the
vase.
 Side A
Achilles Fights Memnon

Both figures are slender, athletic and well-muscled.

Achilles has his shield ready to block
Memnon’s sword, and is also moving
forward to thrust with his spear.
Memnon holds up his shield to
block Achilles’ spear, while he
prepares to lunge forward with
his own weapon. Raised heels
suggest he is rushing forward
 This is Eos (Dawn).
Here we can She stands behind
clearly see The two mothers her son, Memnon.
Thetis, mother of frame the warriors in She raises her
Achilles. She the centre. hand, either in
supports her support or anguish.
son, raising her Her drapery hangs
arms and urging in zig-zag folds, and
him on to defeat suggests she is
Memnon moving away.
 Side B
Achilles Fights Hector

Again, Achilles has his shield ready
to block, and, with his legs apart and
his right heel raised, he is moving
forward to deliver the fatal blow to
the already wounded Hector.
Achilles is in a very strong body
position.
Hector’s shield is behind him, leaving him
unprotected. His spear is pointing at the
ground – not a threatening position for
Achilles. Perhaps Achilles has just fended
off a spear-thrust with his shield. He is
leaning backwards, and has a weak
position, with left knee bent. He has two
bleeding wounds already – one on his thigh,
and one on his chest.
 On the edges of the scene
The fight is watched by two divine patrons.
Athena stands behind Achilles, and is
shown wearing her snake covered aegis
and a helmet. She holds a spear in one
hand and encourages Achilles with the
other.
Apollo stands behind Hector, but appears
to be waving farewell to the doomed Hector
and is walking away to let Hector die on the
battlefield. He carries an arrow, perhaps as
a hint as to Achilles’ fate?
Composition
On both sides only the neck and handles
of the vase are decorated. The body is
entirely black, except for a small band of
rays at the foot. This draws attention to
the shape of the vase, and to the small
figures painted around the neck.

The scenes are symmetrical and mirror

each other.
Above the scene is a lotus and palmette band.

Below the scene is a band

of stylised meanders.
There is no overlapping, but the positioning of Achilles’ shield
helps to create depth and a three-dimensional effect.
Achilles’ ¾ view pose is mirrored on both sides.

Side B
Side A
Both sides are composed in a W-shape, and both sides
are symmetrical.
The two outer figures frame the central pair.
Painting Technique
This is a Red-Figure vase, so the figures
are first painted with a relief line, then
the background is filled in with black slip.
Next, extra details were added later in
diluted slips.
Painting Technique

Major muscles are painted
with dark slip, while minor
muscles are painted with
dilute slip.
Dilute slip is also used for detail
Dilute slip is also used for on the inside of the shields, as
Achilles’ hair. well as Hector’s wounds.
Achilles’ spear-arm is
foreshortened.