Alexander, “From Plaster to Stone: Ancient Art at the Art Institute of Chicago,” in Karen Manchester, Recasting the Past: Collecting and Presenting Antiquities at the Art Institute of Chicago (Chicago: Art Institute of Chicago New Haven: Yale University Press, 2012), p. Martine Denoyelle, “Sur la personnalite’ du peintre d’arno un point de jonction entre grande-grece et etrurie,” in Revue Archeologique, Nouvelle Serie, Fasc.Lexicon Iconographicum Mythologiae Classicae (LIMC), VI (no.Bocci Pacini, “Il pittore di sommavilla Sabina ed il problema della nascita delle figure rosse in Etruria,” in Studi Etruschi, vol. Geburtstag dargebracht von Freunden und Schülern. Beazley, “Gleanings in Etruscan red-figure”, in Festschrift Andreas Rumpf. Bulletin of the Art Institute of Chicago, vol.Furtwängler, Neue Denkmäler antiker Kunst: Antiken in den Museen von Amerika III (Munich 1905), p. Art Institute of Chicago, Preliminary Catalogue of Metal Work, Graeco-Italian Vases, and Antiquities, Decem(Chicago: Early and Halla Printing Company, 1889), p.Hutchinson starting from New York Sat’y Mch. The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Hutchinson Reference Number 1889.18 IIIF Manifest (circa) or BCE.Ĥ00 BCE–380 BCE Medium terracotta, red-figure Dimensions 43.8 × 46.7 × 46.4 cm (17 1/4 × 18 3/8 × 18 1/4 in.) Credit Line Gift of Philip D. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. Status Currently Off View Department Arts of the Ancient Mediterranean and Byzantium Artist Perugia Painter Title Calyx Krater (Mixing Bowl) Place Basilicata (Object made in) Dateĭates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Charged with capturing a monstrous bull that was terrorizing the people of Crete, the hero wields his club against the ungainly creature, watched over by King Minos on the left, the gods Apollo and Athena above, and Hermes on the right. The seventh of Herakles’s Twelve Labors is shown here. This vase was painted by a Greek artist who immigrated to Etruria, where Greek vases were a popular commodity.
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