Attic pottery in the KHM Vienna

The aim of the proposed project is the scientific examination and preparation of Attic Geometric, Proto-Attic and black-figured pottery (comprising altogether 98 objects) in the collections of the Antikensammlung of the Kunsthistorischen Museums (KHM) in Vienna, Austria for publication within the scope of the Corpus Vasorum Antiquorum (CVA). About 70% of the pottery (18 Geometric, 2 Proto-Attic and 78 black-figured vases) is hitherto unpublished. A variety of vase shapes are represented, the 52 amphorae forming the largest group within the black-figured vases. Only a part of the black-figured pottery has been classified, and attributed to several groups and painters, by John D. Beazley. The classified vases indeed do not originate from leading painters; however, the leading groups and workshops from the beginning of the 6th century B.C. until the late period of Attic black-figured vase painting in the first half of the 5th century B.C. are represented (among others a Horse Head amphora, Painter of Louvre F6, Group E, Nikosthenic amphorae, Leagros Group, Gela Painter, Diosphos Painter). Approximately one third of the objects has already been classified; therefore the emphasis lies on the classification, for the first time, of the majority of the pottery to particular workshops and painters. Iconographically, the black-figured representations reveal a large variety; themes of daily life and mythological scenes belong to the conventional contemporary Attic repertoire of illustrations (genre scenes from women`s and men`s lives, the latter especially as warriors, athletes, or musicians, in addition to scenes of the education of boys or the mourning of the dead; images of different deities, alone or in groups, taking part in armed conflicts and depictions of special events are also depicted, along with heroines and heroes). The objects` state of preservation is generally good; nevertheless the black-figured pottery in particular requires conservation measures and restoration. During the recording of the material, all available measurements will safely be taken by 3-D-scanning; shape, state of preservation, details of manufacture, ancient and modern traces of usage, preliminary sketches, ornamental and figural decoration, inscriptions, graffiti and more will be scientifically described; the details required will be documented graphically and photographs of details and shapes will be taken. The scientific examination will be performed according to the "Richtlinien für Bearbeiter von deutschen CVA- Bänden" published in 2002. Besides a detailed description, the iconographic and iconological interpretation, the local and chronological classification as well as the attribution to specific workshops and painters will result. References to the respective literature of comparative examples, a bibliographic synopsis, as well as facts concerning the origin and acquisition of the pottery will complete the scientific data. The final result will be a printable manuscript which will be published in the framework of the international vase corpus CVA.

The aim of the project has been the scientific analysis of the Attic Proto-Geometric, Attic Geometric, Attic Proto- Attic and a certain number of Attic black-figured vases of the Antikensammlung of the Kunsthistorischen Museums (KHM) in Vienna, Austria within the scope of the Corpus Vasorum Antiquorum (CVA) according to the actual standards and modern methods. Two Attic Proto-Geometric lekythoi of the 10th century BC are the oldest examples. The vases of the Attic Geometric period (EG II 875/850 BC to LG IIb 720/700 BC) represent a wide repertoire of forms. One lekanis as well as a loutrophoros-hydria of the Late-Proto-Attic respectively Early-black-figured period date at the early beginning of the 6th century BC. The classified Attic black-figured vases do not originate from leading painters; however, the leading groups and workshops from the beginning of the 6th century BC until the late period of Attic black-figured vase painting in the first half of the 5th century BC are represented (among others a Horse Head amphora, Painter of Louvre F6, Group E, Nikosthenic amphorae, Leagros Group, Gela Painter, Diosphos Painter). Iconographically, the black-figured representations reveal a large variety; themes of daily life and mythological scenes belong to the conventional contemporary Attic repertoire of illustrations. Special attention has been directed to the perception and documentation of preliminary sketches. The documentation of these details is difficult because most of the sketches are covered by subsequent painting due to the technique of manufacture. Moreover, they can only be seen in grazing light or under the 3-D-scanning microscope in most cases. In order to fix the position of the preliminary sketches on the particular vase, rollouts of the vase-surfaces (based on 3-D-scans) were drawn for the graphic documentation. During the interdisciplinary work, yet another key aspect emerged for the restoration which regards the history of restoration and its natural scientific analyses. Especially in the 18th and 19th centuries the topmost goal of the restoration of ancient Attic vases was laid in the production of aesthetically pleasing and above all complete objects. These restorations often are executed in such a perfect way that no precise statement on the distinction between original and modern restorations can be made without the aid of natural scientific methods. The scope of non-destructive natural scientific diagnostics was exhausted as far as possible (e.g. radiography, X-ray fluorescence analysis, computed tomography, ultraviolet and infrared pictures, stereo- and 3D-microscope images). The historical restorations seem often to follow the remaining ancient rests and the extensive scientific analyses show that an elimination of the historical repainting is not justified scientifically in every case.