The Codrus Painter was a painter of cups and vases in fifth-century B.C.E. Athens with a distinctive style; he is named after Codrus, a legendary Athenian king depicted on one of his most characteristic vases. He was active as an artist during the rule of Pericles, as the Parthenon was built and then as the troubled times of the Peloponnesian War began. In contrast to the work of fellow artists of his day, the vases of the Codrus Painter appear to have been created almost exclusively for export to markets outside Athens and Greece, especially to the Etruscans in central Italy and to points further west. Amalia Avramidou offers a thoroughly researched, amply illustrated study of the Codrus Painter that also comments on the mythology, religion, arts, athletics, and daily life of Greece depicted on his vases. She evaluates his style and the defining characteristics of his own hand and of the minor painters associated with him. Examining the subject matter, figure types, and motifs on the vases, she compares them with sculptural works produced during the same period. Avramidou’s iconographic analysis not only encompasses the cultural milieu of the Athenian metropolis, but also offers an original and intriguing perspective on the adoption, meaning, and use of imported Attic vases among the Etruscans.

In his new book, Professor Martin Robertson - author of A History of Greek Art (CUP 1975) and A Shorter History of Greek Art (CUP 1981) - draws together the results of a lifetime's study of Greek vase-painting, tracing the history of figure-drawing on Athenian pottery from the invention of the 'red-figure' technique in the later archaic period to the abandonment of figured vase-decoration two hundred years later. The book covers red-figure and also work produced over the same period in the same workshops in black-figure and other techniques, especially that of drawing in outline on a white ground. The book is intended as a companion volume to Sir John Beazley's The Development of Attic Black-figure (originally published in 1951 by California University Press), and as an examination and defence of Beazley's methods and achievements. This book is a major contribution to the history of Greek vase-painting and anyone seriously interested in the subject - whether scholar, student, curator, collector or amateur - will find it essential reading.

English summary: The first complete catalogue of all the Greek vases in the National Museum of Natural History, Smithsonian Institution. It includes all the Attic painted pottery, both black- and red-figure, a Spartan and an Ionic cup, as well as two vases in the National Museum of American History. Italian description: Il primo catalogo completo di tutti i vasi greci conservati nel National Museum of Natural History, Smithsonian Institution. Comprende tutti i vasi attici dipinti, a figure nere e a figure rosse, una tazza di manifattura spartana e una ionica, oltre a due vasi conservati nel National Museum of American History.

A lucrative trade in Athenian pottery flourished from the early sixth until the late fifth century B.C.E., finding an eager market in Etruria. Most studies of these painted vases focus on the artistry and worldview of the Greeks who made them, but Sheramy D. Bundrick shifts attention to their Etruscan customers, ancient trade networks, and archaeological contexts. Thousands of Greek painted vases have emerged from excavations of tombs, sanctuaries, and settlements throughout Etruria, from southern coastal centers to northern communities in the Po Valley. Using documented archaeological assemblages, especially from tombs in southern Etruria, Bundrick challenges the widely held assumption that Etruscans were hellenized through Greek imports. She marshals evidence to show that Etruscan consumers purposefully selected figured pottery that harmonized with their own local needs and customs, so much so that the vases are better described as etruscanized. Athenian ceramic workers, she contends, learned from traders which shapes and imagery sold best to the Etruscans and employed a variety of strategies to maximize artistry, output, and profit.

Artists and Artistic Production in Ancient Greece questions many long-held ideas and provides a deeper understanding of particular artists and architects.

One of the most fascinating topics in the study of ancient art concerns artistic practices and models and the means of transmission of iconographic designs and decorative compositions. This study presents some examples that suggest the existence of pattern books Ancient Greece.

This is the first general monograph on ancient Greek dress in English to be published in more than a century. By applying modern dress theory to the ancient evidence, this book reconstructs the social meanings attached to the dressed body in ancient Greece. Whereas many scholars have focused on individual aspects of ancient Greek dress, from the perspectives of literary, visual, and archaeological sources, this volume synthesizes the diverse evidence and offers fresh insights into this essential aspect of ancient society. Intended to be accessible to nonspecialists as well as classicists, and students as well as academic professionals, this book will find a wide audience.