Horses by Exekias* MARY B. MOORE PLATES 119-122 Exekias painted some of the most splendid horses known to us in vase painting and it is clear that he must have known a great deal about them. What is not so clear, however, is the order in which they were painted, since a detailed chronol-ogy of his vases has not yet been agreed upon. The

Unfortunately the fragments were lost during the war; W. Herrmann has recently published them as war losses, listing all the information available on their history— the provenience is unknown.

One of the most famous of the Greek ceramic artists was Exekias, who worked in Athens between c. 545 and 530 BCE. This paper examines a few of the painted vases of Exekias, specifically to explore if the artist chose to include political and social messages in two of his most well known works, the Vatican Amphora and the amphora at Boulogne.

Exekias (Ancient Greek: Ἐξηκίας, Exēkías) was an ancient Greek vase painter and potter who was active in Athens between roughly 545 BC and 530 BC. [1] Exekias worked mainly in the black-figure technique, which involved the painting of scenes using a clay slip that fired to black, with details created through incision.

Nov 1, 1978 · Exekias represented two warriors playing a game at least twice, and is generally believed to have been the first to paint this theme on a vase.

Exekias painted some of the most splendid horses known to us in vase painting and it is clear that he must have known a great deal about them. What is not so clear, however, is the order in which they were painted, since a detailed chronology of his vases has not yet been agreed upon.

Exekias was a Greek potter and painter who, with the Amasis Painter, is considered the finest and most original of black-figure masters of the mid-6th century bc and is one of the major figures in the history of the art.

harnessing of the horses to the vehicle, and it is this theme, in particular the examples by Exekias, that is the subject of this study. Three times Exekias depicted the harnessing of a chariot: on his neck-amphora in Boston1; on the fragmentary neck-amphora in the collection of Herbert Cahn, H 3002; and on a fragmentary amphora

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In the foreground, in front of the figures, is a chariot drawn by four horses, which were not distinguished by different colors. The near horse, largely hiding the others from view,