Tátrai Vilmos szerk.: A Szépművészeti Múzeum közleményei 92-93.(Budapest, 2000)

SZILÁGYI, JÁNOS GYÖRGY: "Les Adieux". A Column-krater of the Syracuse Painter

13. Detail of the column-kraler fig. 5 (side A) picture frame with trunk turned back (fig. 13), is an abortive attempt to overcome the two-dimensionality of Archaic drawings, the object of constant experiment by vasepainters since the late sixth century. This same endeavour explains why, in the figure of the hoplite, shown in strict side-view, the tip of the cheek-piece on the right side can just be made out behind the facial profile.

17 The iconographie repertory of the Syracuse Painter is modest, as befits his talents as an artist. He did not, however, permit himself the kind of repetition common enough even in the later production of the great masters of the Late Archaic period: the monotone reiteration of successful poses or groupings. Among the few exceptions are the Dionysos figures on his New York amphora (16) and his Syracuse pelike (32), the two sides of the Galaxidi pelike (34), or, with some small variations, the rendering of a 17 The motif is not without parallels with the painter's contemporaries (e.g. Richter-Hall, op, cit. [n.3] pi. 71; RendPontifAccArch 50 11977-19781 270, fig. 67: Caskey-Beazley, Boston, op. cil. [n.4] pis. 3536), although it is by no means general.