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Trendall","","Greek Vases in the Felton Collection presents an art-historical survey of classical Greek pottery, emphasizing how the sober red-and-black scheme, economy of detail, and conventional imagery help illuminate daily life, customs, and artistic development. It explains attribution practices for unsigned vases through conventional artist names, then traces stylistic change from Late Bronze Age Mycenaean pottery through Geometric revival and later Orientalizing influences. Case studies of Corinthian imports and Etruscan imitations illustrate evolving animal-frieze traditions and specific painters’ techniques.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/greek-vases-in-the-felton-collection-ad-trendall/570525/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/greek-vases-in-the-felton-collection-ad-trendall/570525.png","ImageObject",300,407,{"name":92,"@type":93},"Cart","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-20","2026-10-13",true,{"@type":102,"interactionType":103,"userInteractionCount":81},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"How does the book explain attribution when many vases are unsigned?","Question",{"text":112,"@type":113},"It notes that while some makers’ signatures exist, most vases are unsigned. For convenience, unsigned works are attributed to different painters or schools based on stylistic evidence, and artists are given conventional names derived from subjects or locations of key vases or distinctive style features.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"What major stylistic changes are described from the Late Bronze Age onward?",{"text":117,"@type":113},"After the Mycenaean style became universal, the collapse led to a dark age with simplified decoration. A revival around 1000 B.C. reshaped both forms and decoration into the Geometric style, particularly associated with Athens and later used broadly across the Greek world.",{"name":119,"@type":110,"acceptedAnswer":120},"What characterizes the Orientalizing style in this text?",{"text":121,"@type":113},"Orientalizing is described as arising from contact with Eastern art through trade and colonies. It introduces decorative motives such as palmettes and lotus elements and adds procession-like friezes featuring animals and hybrid creatures seen in Mesopotamian and Assyrian art.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},570525,1792213747,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":81,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":36,"language":139,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":67,"update_tm":143,"read_time":144},18829141979164,"https://eur-avatar.wpscdn.com/davatar_6f874abed73319feea01a86fa6f0fab8","# GREEK VASES IN THE FELTONCOLLECTION\n\nTRENDALL  \n# UNIVERSITYOF VICTORIALIBRARY\n\n# Greek Vasesin the Felton Collection\n\nA.D.TRENDALL  \nNational Gallery Booklets  \nOXFORD UNIVERSITY PRESS  \n# reek Vases\n\nin the Felton Collection  \n## A.D.TRENDALL\n\nMELBOURNE  \n(XFORD UNIVERSITY PRESSLONDON WELLINGTON NEW YORK  \n\n| UNIVERSITY OF VICTOR  \u003Cbr>LIBRARY  \u003Cbr>Victoria,B.C,   |\n| --- |\n\nOxford University Press,Ely House,London,W.1  \nGLASGow NEW YORK TORONTO MELBOURNE WELLINGTONCAPE TOWN SALISBURY IBADAN NAIROBI LUSAKA ADDIS ABABABOMBAY CALCUTTA MADRAS KARACHI LAHORE DACCAKUALA LUMPUR HONG KONG TOKYO  \nOxford UniversityPress,7 Bowen Crescent,Melbourne  \nNational Library of AustraliaREGISTRY NUMBER AUS 68-1435  \nFirst published 1968  \nRegistered in Australia for transmission by post as a bookPRINTED IN AUSTRALIA BY BROWN PRIOR ANDERSON PTY I.TD  \nLASSICAL GREEK POTTERY,with its sober red and blackCcolour-scheme,its economy of detail,and its use of certainconventional methods of representation—a column for a building,a tree or branch to signify an outdoor scene,a line of dots forbroken ground—has perhaps less immediate appeal than Greeksculpture,but it is of great value for the light that it sheds uponthe daily life and customs of the Greek people,as well as for thestudy of their artistic progress,since we are here dealing exclu-sively with originals.Some vases bear the actual signature of theirmaker(e.g.the cup signed by the potter Pamphaios,Plates 7-8)or of their decorator,but most are unsigned,although the greatmajority of these may be attributed to different painters or schoolson stylistic evidence.In these cases it is customary for the sake ofconvenience to give the artist a conventional name,often derivedfrom the subject or location of one of his more important vases,or from some distinguishing feature of his style.  \nBy the Late Bronze Age(c.1300 B.C.)the Mycenaean style ofpottery had become universal in the Greek world.The fall of theMycenaean empire was followed by a 'dark age’,during whichthe cultural achievements of the preceding era were almost en-tirely lost,and pottery decoration was reduced to a limited reper-tory of simple ornament tastelessly arranged in bands.About1000 B.C.a revival took place;both shapes and decoration wereremodelled,and gradually a new style emerged,known from thenature of its ornament as Geometric'.It flourished particularly inAthens in the ninth and early eighth centuries B.C.,but was alsowidely employed throughout the Greek world.Unfortunately,itis not yet represented in the Melbourne Collection.  \nThe later eighth century saw a considerable expansion of tradeand brought the Greeks,through their colonies in Asia Minor,intocontact with Oriental art,especially metalwork,ivories and tex-tiles,one result of which was the rise of a new style,known as‘Orientalizing’,which is characterized by the introduction of manynew decorative motives of eastern origin,like the palmette or thelotus bud and flower,and by the appearance in procession-likefriezes round the vase of a variety of animals like deer,lions andpanthers,or of hybrid creatures such as sphinxes,sirens andgriffins,all of which are regularly to be found in Mesopotamianand Assyrian art.This ‘animal-frieze'style reached its height inCorinth during the seventh century,and is well exemplified in thelarge olpe or jug(Plate 1),1 which was found in a tomb in Etru-ria,where it had been imported from Corinth.It was made to-wards the end of the third quarter of the seventh century B.C.  \nand illustrates the transitional stage between the miniaturist pre-cision and elegance of Proto-corinthian in the preceding genera-tion and the mass production of what has been called the RipeAnimal'style of developed Corinthian during the first half of thesixth century.In the transitional phase there is a tendency for thevases to increase considerably in size and for the animals to growbigger in sympathy,since larger areas could thus be decoratedmore quickly.Towards the end o","cbCaieeh0EYU5SaH","https://ap.wps.com/l/cbCaieeh0EYU5SaH","pdf",4181594,"English","# Greek Vases in the Felton Collection\n## A.D. Trendall\n## Classical Greek pottery and attribution\n## From Mycenaean to Geometric styles\n## Orientalizing and the animal-frieze tradition\n## Corinthian transitional techniques\n## Corinthian imports and Etruscan imitations","[{\"question\":\"How does the book explain attribution when many vases are unsigned?\",\"answer\":\"It notes that while some makers’ signatures exist, most vases are unsigned. For convenience, unsigned works are attributed to different painters or schools based on stylistic evidence, and artists are given conventional names derived from subjects or locations of key vases or distinctive style features.\"},{\"question\":\"What major stylistic changes are described from the Late Bronze Age onward?\",\"answer\":\"After the Mycenaean style became universal, the collapse led to a dark age with simplified decoration. A revival around 1000 B.C. reshaped both forms and decoration into the Geometric style, particularly associated with Athens and later used broadly across the Greek world.\"},{\"question\":\"What characterizes the Orientalizing style in this text?\",\"answer\":\"Orientalizing is described as arising from contact with Eastern art through trade and colonies. It introduces decorative motives such as palmettes and lotus elements and adds procession-like friezes featuring animals and hybrid creatures seen in Mesopotamian and Assyrian art.\"}]","Greek Vases in the Felton Collection - A.D. Trendall | PDF",1791881582,62]