21. See p.40 in Black text for wider view Herakles’ gear, including bow and arrow, and the trademark club and lionskin cloak A female supporter of Herakles watches the fight Two female supporters of Antaios also watch
22. Herakles Painted in full profile. Down on his right knee, with the left outstretched behind, Herakles is driving forward – a very strong position. He holds Antaios in a vice-like grip around the neck. His whole body shows the strain of the fight: his calves, his thighs and his torso are all tense. His face, however, shows no strain. He is working hard, but in control.
23. Antaios Shown in frontal view – Antaios is on his side. Antaios’ legs are useless: Herakles’ grip on his neck means Antaios cannot turn to get a stronger position. His right arm lies useless on the ground and he tries to loosen Herakles’ grip with his left hand. His neck is twisted and he cannot see. His mouth is open and his teeth are bared in a grimace of pain, and his bushy eyebrows show a frown.
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25. Composition The composition is framed above by a palmette band, and below by a lotus and palmette band. BALANCED SYMMETRICAL The two central figures, locked together, frozen, mid-fight, form an inverted-V These two figures form the outer, vertical lines in the W-shape On either side of the W-shape, Exekias places vertical figures to maintain symmetry.
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27. Background painted with black slip Red vase colour left to show through Darker slip colour used to show detail More dilute slip colour used to show finer muscle detail This technique allows Euphronios more flexibility and makes his painting more realistic. His poses and the detail shown in his musculature suggest he spent time observing real wrestlers.
28. Innovations This vase by Euphronios is the first one to show an attempt at showing 3 dimensions. CRUCIAL POINT: IT IS THE FLEXIBILITY OF THIS NEW TECHNIQUE WHICH ALLOWS EUPHRONIOS TO MAKE THESE INNOVATIONS. DRAPERY Euphronios uses dilute slip to show intricate folds in the drapery of the figures he paints. These folds suggest the light fabric of the chitons, and bodies moving underneath. The decoration is still two-dimensional, but Euphronios is experimenting with the third dimension. FORESHORTENING - Euphronios foreshortens the giant’s right leg, as it bends underneath him. This distortion of the shape is an attempt to show perspective, and is the first known true attempt at the technique. SEE PAGE 40-41 (BLACK)
Editor's Notes
Euphronios was the best of the Pioneers
Euphronios means “good sense”
Euphronios’ favourite shape was the Calyx Krater. Euphronios also signed 10 vases later in his career as potter. Seems to have continued potting after he stopped painting – some have suggested he must have had failing eyesight.
Myth said he could only be killed in mid-air, yet euphronios is showing herakles clearly defeating antaios on the ground –variation in the story. Probably Euphronios is showing a different scene because he wanted a satisfying composition rather than an accurate representation of the popular myth.
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