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The vase is signed both by Euxitheos as potter and Euphronios as painter. While it was customary for the painter to sign the finished work, it was less common for the potter to add his own name. The presence of both signatures indicates that Euxitheos felt the vase to be one of his finest works.
White-ground vases were produced, for example, in Ionia, Laconia and on the Cycladic islands, but only in Athens did it develop into a veritable separate style beside black-figure and red-figure vase painting. For that reason, the term "white-ground pottery" or "white-ground vase painting" is usually used in reference to the Attic material only.
Purple (black) and white clay were used to show the patterns. [18] A pattern is engraved on the vessel's body with a knife and the carved-away areas are filled with purple or white clay. When the clay dries the excess is removed, leaving it only in the carved areas, leaving a white or purple pattern. The entire vessel is coated in a colorless ...
The use of silk or other stable fabric in the felt creates a fabric that will not stretch out of shape. Fabrics such as nylon, muslin, or other open weaves can be used as the felting background, which results in varying textures and colors. Nuno Felted Jacket by Elynn Bernstein / A Mano Studios. Nuno felting creates a highly versatile fabric.
A few surviving vases were labelled with their names in antiquity; these included a hydria depicted on the François Vase and a kylix that declares, “I am the decorated kylix of lovely Phito” (BM, B450). Vases in use are sometimes depicted in paintings on vases, which can help scholars interpret written descriptions.
The geometric patterns are what define the style, with an array of shapes within and around the friezes: including battlements, concentric circles, meanders, and key patterns. [6] The entirety of the vase, excluding the main frieze, is ornamented with precisely balanced patterns utilizing light and dark pigments; these decorative forms ...
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The meander is a fundamental design motif in regions far from a Hellenic orbit: labyrinthine meanders ("thunder" pattern [3]) appear in bands and as infill on Shang bronzes (c. 1600 BC – c. 1045 BC), and many traditional buildings in and around China still bear geometric designs almost identical to meanders.