Etruscan vase painting
The Etruscan vase painting took place from the 7th to the 4th century BC It was based very heavily on the Greek vase painting. In addition, the Etruscans were the main customers for the Greek ceramics exports outside Greece. The Etruscans were richly decorated vases to grave inventory deceased.
Black-figure vase painting
A production of Etruscan vases probably sat in the 7th century BC. The vases initially were based on black-figure models from Corinth and eastern Greece. It is believed that in the early phase primarily Greek immigrants were the producers. The first important style was Pontic the vase painting. This was followed in the period 530-500 BC, the Micali Painter and his workshop. They created mainly amphorae, hydriai and cans. These usually show Komasten, symposia and animal friezes. More rarely there are myths pictures, but these are designed very carefully. At this time Etruscan artists already oriented rather on Attic models. The end of the black-figure style is around 480 BC Recently, the mannerist style developed, and towards a little careful silhouette technique.
Red-figure vase painting
An imitative acquisition of the red-figure style developed in Etruria until around 490 BC and thus almost half a century after its development. These early products are referred due to their Technique as a pseudo- red-figure Etruscan ceramics. Only towards the end of the 5th century BC, the real red-figure technique was introduced in Etruria. For both styles of many painters, workshops and production centers could be detected. The products were not only produced for the local market but sold to Malta, Carthage, Rome, and to the Ligurian coast.
Pseudo - red-figure vase painting
In early vessels of this style, the red-figure Technique was only imitated. As with many early Attic vases also the entire body of the vessel was covered with black glossy slip and the figures are painted with red subsequently oxidizing or white earth tones. In contrast to the simultaneous Attic red-figure vase painting of the effect was thus not achieved by recessing of the canvas. The internal drawings were then, as in the black-figure vase painting replaced by carvings and not additionally painted. Important representatives of this style of painting were the Praxias Painter and other masters of his workshop, which was in Vulci. Despite obvious good knowledge of Greek mythology and iconography - which were not always implemented exactly - there is no evidence that the workshop master of Athens had immigrated. Only when Praxias painter can speculate on origin is from Greece in four of his vases painted inscriptions in Greek language.
The pseudo- red-figure style was in Etruria not a phenomenon of the early period, as in Athens. Especially in the 4th century BC, some workshops specialized in this technique, although at the same time the real red-figure vase painting was used in Etruscan workshops. Mentioned are the workshops of Socrates and the Phantom Group. The slightly older Sokra group preferred shells whose interior pictures offered depictions of mythical themes of the Greeks, but also Etruscan content. Motives of the phantom group represented above mantle figures in combination with plant and palmette compositions represents the associated workshops of both groups are suspected in Caere, Tarquinia and Falerii. The Phantom Group produced their goods to the early 3rd century BC The changing tastes of buyers brought as for the red-figure vase painting in general for that style the end.
Red-figure vase painting
Only towards the end of the 5th century BC, the real red-figure Technique with recessed clay- figures in Etruria has been introduced. In Vulci and Falerii created the first workshops that produced in this technique also for the surrounding area. Attic masters were probably behind the first workshop ups, but can also impact on the early South Italian vessels detected. Until the 4th century BC, these workshops dominated the Etruscan market. Most mythological scenes were shown on large - to medium -sized vessels such as craters and cans. As the century progressed the Faliscan production began to exceed those from Vulci in scope. In Chiusi and Orvieto created new centers of production. Especially Chiusi with its drinking cups of Tondo Group, which represented mostly dionyische topics in the inner shell, grew in importance. In the second half, the production moved to Volterra. Especially rod Henkel craters, called Keleben were prepared and initially painted consuming.
In the second half of the 4th century BC, mythological themes disappeared from the repertoire of Etruscan vase painters. They were replaced by female heads, figurative representations of highest two people. Ornaments and floral motifs instead spread out on the vessel bodies. Only exceptionally, returned again large compositions, such as the amazonomachy on a crater of Den- Haag Funnel Group Painter. The first still extensive production faliskischer vessels lost its importance to the newly created production center of Caere. Probably founded by faliskischen masters and without an independent tradition, Caere was the dominant manufacturer red-figure vases of Etruria. Just painted oinochoai, lekythoi, drinking bowls about the Torcop group and small plates of Genucuilia group belonged to the standard repertoire of their production. The changeover of production to glaze clay vase at the end of the 4th century BC, more in line with the tastes of the time, also brought in Etruria the end of the red-figure vase painting.