- Identification and Creation
- Object Number
Attributed to The Bryn Mawr Painter, Greek
- Plate: Woman Playing Kottabos
- Work Type
- 480 BCE
- Creation Place: Ancient & Byzantine World, Europe, Vari (Attica)
- Classical period, Early
Level 3, Room 3400, Ancient Mediterranean and Near Eastern Art, Ancient Greece in Black and Orange
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- Physical Descriptions
- 2.5 cm h x 21.8 cm diam. (1 x 8 9/16 in.)
- David M. Robinson, Baltimore, MD, (by 1937-1958), bequest; to Fogg Art Museum, 1960.
- State, Edition, Standard Reference Number
- Standard Reference Number
- Beazley Archive Database #213353
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Arthur M. Sackler Museum, Bequest of David M. Robinson
- Accession Year
- Object Number
- Asian and Mediterranean Art
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- On this plate interior, a woman reclines on a couch into a plush and decorated pillow. She wears a long tunic with fine creases done in diluted glaze with a mantle thrown over her legs. Her hair is pulled back into a dotted headdress (sakkos). She holds two wine cups, one rendered in silhouette held close to her body, the other in her extended hand as she plays the game kottabos. In a symposium (drinking party), this game involved the tossing of the wine dregs left over at the bottom of a cup at a target, sometimes as one calls out the name of his lover. In the background behind her feet, an empty pipe case hangs on the wall, suggesting that the pipe player is somewhere unseen in this scene, accompanying the party with music.
- Since symposia were restricted to male participants with the exception of female entertainers, such as prostitutes or hetairai, this image, which is in fact quite unusual, can be interpreted as a kind of humorous parody. Instead of a man reclining and consuming wine, as would be expected, the roles are swapped, where the woman, most likely a prostitute or other kind of entertainer, takes his place on the couch. The irony of this scene is emphasized by her participation in kottabos, where normally the man might be calling her name as he aims at the target, she instead replaces him, potentially calling his name. There are two holes at the top of the plate, suggesting that it was suspended, though where exactly is unclear.
- Publication History
Frank J. Frost, Greek Society, D. C. Heath and Co. (1980), p. 130.
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. 12, no. 19.
I. Peschel, "Die Hetäre bei Symposium und Komos in der attisch rotfigurigen Malerei des 6.-4. Jhs. v.Chr." (Frankfurt, 1987), pl. 73.
[Reproduction Only], Persephone, (Spring 2004)., p. 79.
- Exhibition History
Dialogue with Antiquity: The Curatorial Achievement of George M.A. Hanfmann, Fogg Art Museum, 05/07/1982 - 06/26/1982
The David Moore Robinson Bequest of Classical Art and Antiquities: A Special Exhibition, Fogg Art Museum, 05/01/1961 - 09/20/1961
Fragments of Antiquity: Drawing Upon Greek Vases, Harvard University Art Museums, Cambridge, 03/15/1997 - 12/28/1997
HAA132e The Ideal of the Everyday in Greek Art (S427) Spring 2012, Harvard Art Museums, Cambridge, 01/31/2012 - 05/12/2012
32Q: 3400 Greek, Harvard Art Museums, Cambridge, 11/16/2014 - 01/01/2050
- Subjects and Contexts
Google Art Project
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