Depictions Īll depictions on this vase point towards warfare in Ancient Greece. His use of red-figure on this krater allowed him to add an increasing amount of detail to the figures and scenes he depicted, like the textures of Herakles' club and lion skin. Įuphronios was a part of the Pioneer Group, and was known to be a major component in the transition from black-figure to red-figure pottery in Ancient Greece. Įuphronios chose to include multiple inscriptions on this krater: CHORITHON, KAIKEOS, (kalos/kale) PHILLIADESKALOS, (kalos/kale) XENON KALOS, LYSIS, PHILLIADES, TEISIS, XENON, and XINIS. The frieze on the neck shows a komos, which is a drunken ritual that was performed during Ancient Greek celebrations. The other side shows Herakles and Telamon battling the Amazons. One side leads into the other, showing three Greek hoplites and an Amazon seemingly running into battle, shown by their equipment of shields, spears, and helmets. The entire body of the vase primarily focuses on an amazonomachy, which is a battle between the Greeks and the Amazons, a nation of all-female warriors from mythology. See more pictures of disputed antiquities.The depictions on the other side of the Arezzo 1465 vase include the Amazons running into battle.
And while any cloud of suspicion over the krater's provenance was unbeknownst to Met curators in 1972, the museum faced calls from Italy to return the artifact, originally discovered outside Rome.Ĭurrent Status: After several years of negotiation, the Met returned the krater to Italy in 2008 in exchange for the rights to display several comparable artifacts on loan. It had been purchased, however, from Robert Hecht, now on trial in Italy on charges of conspiring to deal in looted antiquities. The Metropolitan Museum of Art acquired the 2500-year-old krater an ornate bowl used to combine water with wine for $1 million in 1972, thrilled to find one of the few known examples of the ancient painter Euphronios. Consider the case of the Euphronios krater. 05, 2009 Euphronios KraterĮven with the best of intentions, it may be difficult for museums to completely avoid the acquisition of ill-gotten artifacts.
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