- Identification and Creation
- Object Number
Attributed to The Kleophrades Painter, Greek
- Calyx Krater (mixing bowl for wine and water): Return of Hephaistos to Olympos
- Work Type
- c. 500 BCE
- Creation Place: Ancient & Byzantine World, Europe, Athens (Attica)
- Archaic period
Level 3, Room 3400, Ancient Mediterranean and Near Eastern Art
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- Physical Descriptions
- 43.8 cm h x 48 cm diam (17 1/4 x 18 7/8 in.)
- Jacob Hirsch, New York, (by 1936), sold; to Frederick M. Watkins, (1941-1960), gift; to Fogg Art Museum, 1960.
- State, Edition, Standard Reference Number
- Standard Reference Number
- Beazley Archive Database #201683
- Aquisition and Rights
- Credit Line
- Harvard Art Museums/Arthur M. Sackler Museum, Gift of Frederick M. Watkins
- Accession Year
- Object Number
- Asian and Mediterranean Art
- Re-View Exhibition, Spring 2008, gallery label information:
The krater, a large vessel for mixing wine with water, was central to the symposion, the Greek all-male drinking party. Consuming undiluted wine was considered uncivilized: the habit of barbarians and of satyrs, the companions of the wine god Dionysos. Representations of satyrs-part human, part animal, and easily aroused-surround this vessel in a continuous procession. The frolicking is occasioned by Hephaistos's return, atop a mule, to Mount Olympos (note the satyr carrying the divine smith's bellows). This story illustrates the compelling power of wine, since it was Dionysos who persuaded the disgruntled Hephaistos to return-by making him drunk. The masterful drawing is from the hand of the Kleophrades Painter, a highly skilled but anonymous vase painter named after the potter whose products he decorated.
- Publication History
Ancient Art in American Private Collections, exh. cat., Fogg Art Museum (Cambridge, MA, 1954), no. 273, pl. 81.
The Frederick M. Watkins Collection, exh. cat., Fogg Art Museum (Cambridge, MA, 1973), pp. 50-51, no. 20
Gabriele Pfister-Roesgen, Die etruskischen Spiegel des 5. Jhs. v. Chr., Peter Lang GmbH (Frankfurt am Main, 1975), p. 97.
Caroline Houser, Dionysos and His Circle: Ancient Through Modern, exh. cat., Fogg Art Museum (Cambridge, MA, 1979), no. 4.
David Gordon Mitten and Amy Brauer, Dialogue with Antiquity, The Curatorial Achievement of George M. A. Hanfmann, exh. cat., Fogg Art Museum (Cambridge, MA, 1982), p. 11, no. 16.
Kristin A. Mortimer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums/Abbeville Press (Cambridge, MA; New York, NY, 1985), p. 102, no. 112, ill.
James Cuno, Harvard's Art Museums: 100 Years of Collecting, Harvard University Art Museums/Harry N. Abrams, Inc. (Cambridge, MA, 1996), p. 100-101, ill.
Lexicon Iconographicum Mythologiae Classicae (LIMC), Artemis (Zürich, Switzerland, 1999), Vol. 4, Hephaistos 159; Vol. 8, Silenoi 103.
Dr. Sheramy D. Bundrick, Music and Image in Classical Athens, Cambridge University Press (U.K.) (New York, NY, 2005), p. 110, fig. 64
Stephan Wolohojian, ed., Harvard Art Museum/Handbook, exh. cat. (Cambridge, Massachusetts, 2008)
Stephen Fineberg, Hephaestus on Foot in the Ceramicus, Transactions of the American Philological Association, The American Philological Association (2009), vol. 139, no. 2 (2009), 275-324, fig. 10
George M. A. Hanfmann and David Gordon Mitten, "The Art of Classical Antiquity", Apollo (May 1978), Vol. 107, No. 195, 8-15, fig. 7.
- Exhibition History
Dialogue with Antiquity: The Curatorial Achievement of George M.A. Hanfmann, Fogg Art Museum, 05/07/1982 - 06/26/1982
Ancient Art in American Private Collections, Fogg Art Museum, 12/28/1954 - 02/15/1955
The Frederick M. Watkins Collection, Fogg Art Museum, Cambridge, 01/31/1973 - 03/14/1973
Dionysos and His Circle: Ancient through Modern, Fogg Art Museum, Cambridge, 12/10/1979 - 02/10/1980
Re-View: S422 Ancient & Byzantine Art & Numismatics, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 04/12/2008 - 06/18/2011
HAA132e The Ideal of the Everyday in Greek Art (S427) Spring 2012, Harvard Art Museums, Cambridge, 01/31/2012 - 05/12/2012
- Subjects and Contexts
- Verification Level
3 - Good. Object is well described and information is vetted