Work Fragmentary krater
Department of Greek, Etruscan, and Roman Antiquities: Archaic Greek Art (7th-6th centuries BC)
© 2009 RMN / Hervé Lewandowski
Greek, Etruscan, and Roman Antiquities
Archaic Greek Art (7th-6th centuries BC)
The monumental size of this krater is impressive despite its fragmentary state. Kraters were very widely used to mix water and wine, but were also used as grave-markers in the period from 850 to 760 BC.
Here the section between the handles shows a prothesis scene, with the body of the deceased laid on a bier, surrounded by family and friends, professional female mourners and warriors.
The Dipylon Master
Vases painted by the so-called Dipylon Master mark the high point of the Geometric period, and are among the earliest forms of funerary monument. Vases of monumental proportions such as this example, sometimes as tall as a man, were widespread. The scale and decoration of these vases reflected the status and wealth of the deceased.
From c.750 BC in Athens,
Scenes with figures first appeared in the Late Geometric period (770–700 BC), most commonly depicting funerals, especially the ekphora ceremony, in which the body of the deceased was exhibited and taken by chariot to the place of cremation or burial. Geometric painters also favored maritime scenes, battles at sea and on land, and chariot processions. The opening, handles and body of the vase were often decorated with snakes made from clay, funerary symbols representing the eternal cycle of life.
The scene depicted here is the prothesis, held on the second day after death, when the checkered shroud was lifted to reveal the body. The bier is surrounded by family, friends and professional mourners, seated or kneeling with their hands raised to their heads in a gesture of grief. The decorative scheme is completed by an escort of warriors in chariots, and a warship beneath the handle, making the vessel a consummate expression of the militaristic values of the Athenian nobility of the period.
Geometric figure painting
The first human figures are sketchy silhouettes, with a single eye occupying the face, shown in profile. The triangular body is shown from the front, with simple lines indicating the arms, either raised towards the head in a gesture of grief (in funeral scenes, as here), or carrying weapons. The legs are elongated, meanwhile, with exaggerated thighs. There is no attempt at realism: the chariot's wheels are shown side by side, and the body of the deceased and the checkered shroud are depicted as if viewed directly from above, although the latter seems to be held over the bier by two attendants like an awning. The difficulties of lending a sense of depth to the scene are circumvented by superimposing different planes, a solution that remained widespread until the discovery of perspective and the vanishing point. The Louvre krater is a magnificent example of the Dipylon Master's art.
BibliographyMartine Denoyelle, Chefs-d'oeuvre de la céramique grecque dans les collections du Louvre, 1994, Editions de la Réunion des musées nationaux, p. 18, n 4
Sophie Marmois, Les rites funéraires grecques à travers la céramique, feuillet pédagogique n 3/18
Gudrun Ahlberg-Cornell, Prothesis and Ekphora in Greek Geometric Art, ed. Paul Aströms, 1971
John Boardman, Early Greek Vase Painting, Thames & Hudson 1999
Maître du Dipylon
Vers 750 avant J.-C.
Provenance : cimetière du Dipylon (Athènes)
W. (fragment) 58 cm
Acquisition, 1884 , 1884
Galerie Campana I
Vitrine 5 : Géométrique récent attique
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