Lecture 8: Athenian red-figure vase-painting of the later fifth century. "Through a glass darkly...": interpreting images of women

Black-figure lekythos decorated by the Amasis Painter. New York, Metropolitan Museum of Art. Women working wool: a rare example of a female scene in Archaic vase-painting of the sixth century BC

By the early fifth century BC an increasing number of genre scenes (i.e. representations of everyday life) began to appear in Athenian red-figure vase-painting. Among these, scenes focussing on women gain in popularity over the course of the century, providing valuable evidence for modern scholars researching the subject of women’s life in Classical antiquity. Since, however, representational art is mediated by human perception of the subject depicted, it is important to avoid a simplistic approach to the interpretation of these images as factual representations of real Athenian woman going about their daily business. Though without doubt encapsulating much information about women’s lives, these pictures nevertheless present idealised and often stereotyped images of women, telling us as much about Athenian (male) society’s perception of woman as they do about female experience itself.

Red-figure stamnos decorated by the Kleophon Painter circa 430 BC. Munich, Museum antiker Kleinkunst. Farewell scene between husband and wife preceding the warrior's departure to battle.

Already in sixth-century vase-painting, a number of artistic conventions had been developed for the representation of women: these include the association of the respectable Athenian wife with the paraphernalia of wool working or, as on the Kleophon Painter’s stamnos, the anakalypsis gesture of unveiling her face for her husband’s eyes only. Further in black-figure vase-painting, added white pigment was employed to indicate female flesh.

Red-figure loutrophoros decorated by the Kleophrades Painter circa 480-470 BC. Louvre.

A common pictorial context for the representation of women in both Athenian black- and red-figure vase-painting is ritual funerary scenes depicting the prothesis, or laying out and mourning of the deceased, in which women played a central role. Here the Kleophrades Painter depicts women tearing their hair in ritual lament on a loutrophoros: this vessel, which was used for holding the nuptial bath water, was also frequently placed in or on the tomb of those who died before attaining the married state.

Red-figure hydria (detail) decorated by Phintias circa 510 BC. Munich, Museum antiker Kleinkunst.

By contrast to the chaste and industrious Athenian wife, late sixth and fifth century vase-painting also presents us with images of ‘hetairai’ (educated courtesans paid to entertain male symposiasts) and ‘pornai’ (common prostitutes, often slaves). They appear naked or semi-naked, indulging in sexual activities or, as on the Phintias’ hydria can be seen reclining in male fashion while imbibing. Not surprisingly, images of hetairai and pomai frequently decorated vessels used at the symposion.

Red-figure pyxis, close to the Meidias Painter, end of the fifth century BC. Oxford, Ashmolean Museum.

Beginning circa 430 BC a marked change is evident in the representation of female scenes in Athenian red-figure: the frequency with which women are depicted increases dramatically, as does also the quantity of vase shapes being manufactured for female use (the hydria, pyxis, lekanis, lebes gamikos, etc.). Women now also commonly appear, as on the pyxis (cometic or trinket box) pictured above, attired in luxuriant robes and jewellery either in the domestic women’s quarters or in verdant garden settings, in the company of winged Erotes, which indicates the women's erotic and romantic feminine potential. This suggests a shift in the social status and perception, through perhaps not in the experience, of Athenian women and may perhaps be linked to changes in Athenian society caused by the protracted Peloponnesian War (431-404 BC).

(Note the use of added white paint on the Erotes painted on the pyxis: this, together with the use of gilding gives an ornate appearance to red-figure work of the late fifth century).

Red-figure lebes gamikos decorated in the Manner of the Meidias Painter. Late fifth century BC. Ferrara, Archaeological Museum.

The lebes gamikos is a ritual vessel connected with the wedding and is commonly decorated in the late fifth century with scenes of the woman preparing for her marriage. The Meidias Painter and his followers specialised in the production of such scenes.

Red-figure epinetron decorated by the Eretria Painter circa 425 BC. Athens, National Archaeological Museum.

The epinetron, probably made more commonly in wood than terracotta, fitted over the woman’s knee and thigh in order to provide a working surface for carding wool. This highly decorated version may perhaps have been intended as a wedding gift and depicts famous women of antiquity. Here we see Alkestis leaning against her marriage bed. She was to marry Admetos, and ultimately would sacrifice her own life to save that of her husband. Note the incorporation of two lebes gamikoi and a loutrophoros into the scene. A wedding wreath hangs on the wall.