| Abstrakt: |
This paper revisits the vases attributed to and around the Lotus-Cross Painter and intends to give a new apprehension of this hand. The reconsideration of previously published finds proves that the Painter of Louvre E 649 is identical to the Lotus-Cross Painter and helps in the clarification of hands working around this painter. The Lotus-Cross Painter is apprehended as a potter-painter and a specialist of red-ground globular oinochoai. As a result of this investigation several phases of his stylistic development can also be distinguished. The distribution of his vases suggests special ties to Etruria, especially to Cerveteri highlighting the particular position of the city in the import of Corinthian pottery into Etruria and revealing a particular local demand answered by the Lotus-Cross Painter. The examination of other hands classed around him by D.A. Amyx yielded also interesting results. One of them is identified with the Dionysios Painter. The unity of the secondary decoration and the stylistic relationships between the Lotus-Cross, the Dionysios Painter and other vase painters around them, such as the Brommer Painter (?) allow the reconstruction of a workshop specialized in red-ground vases, mainly globular oinochoai and trefoil olpai. In this workshop we can distinguish two main painters: the Dionysios Painter and the Lotus-Cross Painter. They represent two main streams within the workshop. The Dionysios Painter seems to be more skilled and worked in a very fine, decorative style. Around this personality several fine olpai can be grouped. The Lotus-Cross Painter represents a plainer style with some close followers around him – for ex. the Brommer Painter (?) –. Other works from this workshop attest the influence of both painters. [ABSTRACT FROM AUTHOR] |
