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Additional resources for Masters, pupils and multiple images in Greek red-figure vase painting
19-20. ” Papers on the Amasis Painter and His World. (Malibu: J. Paul Getty Museum, 1987) 184-94; R. M. Cook, Greek Painted Pottery 3rd ed. (London: Routledge, 1997) 275-311. 6 They were painted, for his will mentioned about a dozen painted vases. Chamay and Aufrère 43; Cook, Pottery 288. 7 In the medieval period, pots were believed to have generated spontaneously from the earth where they were found, like some exotic form of fungus; see Alain Schnapp, The Discovery of the Past. (New York: Harry N.
In fact, a person’s hand-writing cannot even be copied accurately, regardless of whether or not tracings or other techniques are used. What is more, a person cannot even consciously alter or disguise his own handwriting to the degree that it would not be recognizable as his, even if he uses the other hand ... regardless of the speed or carelessness of the writing, and regardless of just about any other condition. 73 Hill found that handmade products could be assigned to their individual makers as long as three conditions were met: 1.
2 Although it is the work of an obscure and somewhat pedestrian painter, the Toledo pot is of primary interest to this study because the scene on it is very similar to that on a well-known pelike in the British Museum. That pot is attributed to the Marsyas Painter,3 (fig. 2) perhaps the best painter working in the 4th century. I believe that the relationship between these two vases, and of many other “pairs” of vases that share scenes, is central to an explanation of the working practices of Attic vase-painters.