Papers by Nassi Malagardis
Annuario ,della SCUOLA ARCHEOLOGICA DI ATENE e delle MISSIONI ITALIANE IN ORIENTE vol. 100, 2022
Per l'acquisto rivolgersi a / orders may be placed to: All'Insegna del Giglio s.a.s. via Arrigo B... more Per l'acquisto rivolgersi a / orders may be placed to: All'Insegna del Giglio s.a.s. via Arrigo Boito, 50-52-50019 Sesto Fiorentino (FI) www. insegnadelgiglio.it
From Mykonos to the Aegean See, Volume offered to NikosZapheiropoulos, 2023
The story of the discovery of the "house" of Archidika at Sellada, Thera
Athéniens et Étrusques à l'époque archaïque, le temps du récit-Nikosthénès, Théozotos et les autr... more Athéniens et Étrusques à l'époque archaïque, le temps du récit-Nikosthénès, Théozotos et les autres. .. Chiara Pizzirani Viaggi di immagini. Riflessioni sulla ricezione e appropriazione di schemi iconografici tra Grecia ed Etruria. .
Annuario della Scuola Archeologica di Atene e delle Missioni Italiane in Oriente 99.1, , 2021
Abstract. In this paper, we present an attic black-figured skyphos in the Louvre Museum, decorate... more Abstract. In this paper, we present an attic black-figured skyphos in the Louvre Museum, decorated with very enigmatic
images, which has been the object of numerous attempts at interpretation without ever succeeding in arriving at a satisfactory
reading, until now. How to decipher the message sent to us by such images, so rich in significant details for the contemporary
viewer? What story(ies) does the painter tell on the walls of his skyphos? After a meticulous analysis of each element of the two
paintings on it, we are tempted to interpret the images of the skyphos as a descent, katabasis, of Heracles into an underground
world surrounded by infernal rivers, in the company of an acolyte and a god, Hermes, until his arrival (A) in front of an assembly
of characters, initiates?, dead souls, εἴδωλα καμόντων, before (B) reaching the home of Hades. The painter did know obviously
ancient poetry and so he was able to draw inspiration from a story narrating the katabasis of Hercules derived from a very old,
epic poem that one could attribute to Cecrops of Miletus. Its essential elements were taken up by Aristophanes who also was
able to learn about them through an Orphico-Eleusinian poem dealing with the same subject and composed in the 6th century.
In the latter, the question would be about the initiation of the hero into the mysteries of Eleusis by Eumolpos, before his katabasis,
as the philologists specializing in these questions envisioned.
Rezension zu: Stine Schierup et Victoria Sabetai, The Regional Production of Red-figure Pottery. ... more Rezension zu: Stine Schierup et Victoria Sabetai, The Regional Production of Red-figure Pottery. Greece, Magna Graecia and Etruria. Gösta Enbom Monographs, tome 4. Aarhus University Press 2014. 358 pages, nom- breuses illustrations, plans et tables.
Un vase du musée National d'Athènes, portant des représentations uniques relatives aux fêtes... more Un vase du musée National d'Athènes, portant des représentations uniques relatives aux fêtes, au sacrifice et à la vie quotidienne à Athènes à la fin de l'époque archaïque, a été le point de départ d'une longue enquête. Elle a aboutit à un ouvrage traitant des problèmes iconographiques que pose une série d'images rarement représentées sur des vases ainsi que des problèmes herméneutiques qui en découlent, concernant des informations qui complètent parfois les lacunes de la tradition littéraire. Car, ces peintures constituent des témoignages précieux pour la connaissance de l'histoire religieuse et sociale d'Athènes pendant cette même période.
ANTIKE KUNST, 1985, 2, 1985
Un vase du musée National d'Athènes, portant des représentations uniques relatives aux fêtes... more Un vase du musée National d'Athènes, portant des représentations uniques relatives aux fêtes, au sacrifice et à la vie quotidienne à Athènes à la fin de l'époque archaïque, a été le point de départ d'une longue enquête. Elle a aboutit à un ouvrage traitant des problèmes iconographiques que pose une série d'images rarement représentées sur des vases ainsi que des problèmes herméneutiques qui en découlent, concernant des informations qui complètent parfois les lacunes de la tradition littéraire. Car, ces peintures constituent des témoignages précieux pour la connaissance de l'histoire religieuse et sociale d'Athènes pendant cette même période.
Approaching the Ancient Artifact, 2014
This article, an offering to the memory of Fr. Villard, presents the fragments of a large skyphos... more This article, an offering to the memory of Fr. Villard, presents the fragments of a large skyphos found among the vase debris on the Acropolis of Athens, an anathema to the goddess. On these five fragments – to which I associate a sixth one – I propose: 1
Héra. Images, espaces, cultes, 2000
This article, an offering to the memory of Fr. Villard, presents the fragments of a large skyphos... more This article, an offering to the memory of Fr. Villard, presents the fragments of a large skyphos found among
the vase debris on the Acropolis of Athens, an anathema to the goddess. On these five fragments – to which I
associate a sixth one – I propose: 1) to recognize, in spite of their condition, the subject figured on it: a Gigantomachy
in the iconographic tradition of the oldest version, Lydos’ on his dinos of the Acropolis, and to identify
the characters who participate to the battle according to the place that is reserved for them in the literary
tradition. 2) The type of the shape to which the skyphos belonged: an experimental hybrid form of the Corinthian
type of the attic skyphos, and, 3) The painter and especially the workshop in which this skyphos was
made: one painter of the Lydos’ workshop, if not Lydos himself in the last period of his carrier.
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Papers by Nassi Malagardis
images, which has been the object of numerous attempts at interpretation without ever succeeding in arriving at a satisfactory
reading, until now. How to decipher the message sent to us by such images, so rich in significant details for the contemporary
viewer? What story(ies) does the painter tell on the walls of his skyphos? After a meticulous analysis of each element of the two
paintings on it, we are tempted to interpret the images of the skyphos as a descent, katabasis, of Heracles into an underground
world surrounded by infernal rivers, in the company of an acolyte and a god, Hermes, until his arrival (A) in front of an assembly
of characters, initiates?, dead souls, εἴδωλα καμόντων, before (B) reaching the home of Hades. The painter did know obviously
ancient poetry and so he was able to draw inspiration from a story narrating the katabasis of Hercules derived from a very old,
epic poem that one could attribute to Cecrops of Miletus. Its essential elements were taken up by Aristophanes who also was
able to learn about them through an Orphico-Eleusinian poem dealing with the same subject and composed in the 6th century.
In the latter, the question would be about the initiation of the hero into the mysteries of Eleusis by Eumolpos, before his katabasis,
as the philologists specializing in these questions envisioned.
the vase debris on the Acropolis of Athens, an anathema to the goddess. On these five fragments – to which I
associate a sixth one – I propose: 1) to recognize, in spite of their condition, the subject figured on it: a Gigantomachy
in the iconographic tradition of the oldest version, Lydos’ on his dinos of the Acropolis, and to identify
the characters who participate to the battle according to the place that is reserved for them in the literary
tradition. 2) The type of the shape to which the skyphos belonged: an experimental hybrid form of the Corinthian
type of the attic skyphos, and, 3) The painter and especially the workshop in which this skyphos was
made: one painter of the Lydos’ workshop, if not Lydos himself in the last period of his carrier.
images, which has been the object of numerous attempts at interpretation without ever succeeding in arriving at a satisfactory
reading, until now. How to decipher the message sent to us by such images, so rich in significant details for the contemporary
viewer? What story(ies) does the painter tell on the walls of his skyphos? After a meticulous analysis of each element of the two
paintings on it, we are tempted to interpret the images of the skyphos as a descent, katabasis, of Heracles into an underground
world surrounded by infernal rivers, in the company of an acolyte and a god, Hermes, until his arrival (A) in front of an assembly
of characters, initiates?, dead souls, εἴδωλα καμόντων, before (B) reaching the home of Hades. The painter did know obviously
ancient poetry and so he was able to draw inspiration from a story narrating the katabasis of Hercules derived from a very old,
epic poem that one could attribute to Cecrops of Miletus. Its essential elements were taken up by Aristophanes who also was
able to learn about them through an Orphico-Eleusinian poem dealing with the same subject and composed in the 6th century.
In the latter, the question would be about the initiation of the hero into the mysteries of Eleusis by Eumolpos, before his katabasis,
as the philologists specializing in these questions envisioned.
the vase debris on the Acropolis of Athens, an anathema to the goddess. On these five fragments – to which I
associate a sixth one – I propose: 1) to recognize, in spite of their condition, the subject figured on it: a Gigantomachy
in the iconographic tradition of the oldest version, Lydos’ on his dinos of the Acropolis, and to identify
the characters who participate to the battle according to the place that is reserved for them in the literary
tradition. 2) The type of the shape to which the skyphos belonged: an experimental hybrid form of the Corinthian
type of the attic skyphos, and, 3) The painter and especially the workshop in which this skyphos was
made: one painter of the Lydos’ workshop, if not Lydos himself in the last period of his carrier.
PREMIERE PARTIE. TYPOLOGIE
Pour une Typologie, 7-9.
I. DEFINITION LITTERAIRE DU TERME « SKYPHOS » 10-15
II. ORIGINE ET EVOLUTION DE LA FORME DU SKYPHOS JUSQU'A LA FIXATION DES TYPES PRINCIPAUX DE LA FIGURE NOIRE 16-27
III. DEVELOPPEMENT DES SKYPHOI A FIGURES NOIRES AU COURS DU VIE SIECLE- Types principaux 28-33
DEUXIEME PARTIE. RECHERCHES : ATELIERS ET PEINTRES
IV. SKYPHOI ATTIQUES A FIGURES NOIRES 37-143
1. Skyphoi de type corinthien 37-45
-Période de la formation, style protoattique, proto-figure noire.
-Période de l’affirmation (590-540), Peintres KX et KY, Sophilos.
-Groupe de Vourva, skyphos du groupe Tyrrhénien.
-Peintres « corinthianisants », Peintre de Ragusa, Peintre de Polos et son groupe.
- Peintres narratifs, Peintre C, Néarchos, Klitias - Skyphoi des Petits Maîtres.
-Phase de transition : Lydos, Nikosthénès potier, Peintre Affecté.
-Miniatures : groupe du couvercle d’Oxford et « Swan group ».
2. Skyphoi de type attique 46-94
-Période de la maturité de la figure noire (550-520),
-Classe A1-A2 : Nikosthénès et son atelier, groupe FP (Flower-Palmette),
-Premiers essais : Amasis, Lydos et ses élèves, Peintre du Chameau,
-Skyphoi à Gorgoneion,t
- Skyphoi à tête de femme au trait,
-Autres sujets
-Peintre de l’olpè de Nicosie, « Wraith Painter »
-Classe A2-« classe » A3)
-Classe B : Peintre de l’olpè de Nicosie, Peintre de Ready et Peintre du skyphos de Carlsruhe 3048.
-Atelier de Krokotos : le Peintre de Krokotos et ses compagnons, Peintre de Durand.
-Groupe de "Sub-Krokotos", Peintres de l'hermès, de l'Argos du Louvre et de l'hydre, Peintre de Philadelphie inv. 5481
-Groupe de Léagros, Psiax ( ?),
-Atelier du Héron blanc, Peintre de Thésée et ses « followers »
-« Classe » C l-C2
- Groupe CHC, « Dog Groupe »
-Miniature : Groupe de Lindos.
3. Skyphoi-coupes ou coupes-skyphoi 95-125
- Période des expérimentations -
-Ateliers impliqués à la création du type de skyphos-coupe.
- Petits Maîtres , Skyphoi-coupes à bande
- Peintres impliqués: Peintre de Heidelberg, Lydos et son atelier, Amasis,
- Peintre d’« Elbows Out », Taleides, Peintre d’Oakeshott, Klitoménès potier
-Skyphos du groupe de Cassel, - « Atelier des filets pourpre »
-Skyphoi à bande,
- type d’Hermogénès
- miniature : classe de Lancut, groupe de Lancut,
-ex-« classe de Cracovie »: coupes-skyphoi à bande à décor floral, « Pinchbase »
– Peintre de Haimon, son atelier et son cercle – Groupe de Haimon
- Classe K 1-2
4. Skyphoi de type mastoïde 126-133
-Type de Pistias (classe M1-M2)
-Miniature (classe N).
Typologie abrégée des skyphoi attiques à figures rouges 134-138
PROFILS DES QUATRE TYPES PRINCIPAUX DE LA FIGURE NOIRE ET UN ABREGE DES TYPES DE LA FIGURE ROUGE 139-143
TROISIEME PARTIE 145-181
V. SIGNATURES – INSCRIPTIONS SUR LES SKYPHOI 147-153
VI. ICONOGRAPHIE DES SKYPHOI 154-168
VII. REPRESENTATION DES SKYPHOI SUR LES VASES ET PINAKES ARCHAÏQUES 169- 178
VIII. EMPLOI DU SKYPHOS 179-181
EN GUISE DE RESUME 183-186
ABBREVIATIONS et BIBLIOGRAPHIE 187-199
INDEX
MUSEOGRAPHIQUE
POTIERS, CLASSES, ATELIERS, PEINTRES, GROUPES
AUTEURS ANCIENS –NOMS PROPRES
PLANCHES 1-26