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    Medea

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    Imran
    This document provides an overview and comparison of the myths, play, and visual representations of Medea. It summarizes the major Greek pottery styles of black figure and red figure painting and examines how popular scenes from the Medea myths were depicted, such as Medea and Pelias, Medea slaying her sons, and her flight on a chariot. It also analyzes passages from Euripides' play Medea describing Medea's speech to the Corinthian women and the deaths of Glauce and Creon.

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    Medea

    Uploaded by

    Imran
    60 views31 pages
    This document provides an overview and comparison of the myths, play, and visual representations of Medea. It summarizes the major Greek pottery styles of black figure and red figure painting and examines how popular scenes from the Medea myths were depicted, such as Medea and Pelias, Medea slaying her sons, and her flight on a chariot. It also analyzes passages from Euripides' play Medea describing Medea's speech to the Corinthian women and the deaths of Glauce and Creon.

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    This document provides an overview and comparison of the myths, play, and visual representations of Medea. It summarizes the major Greek pottery styles of black figure and red figure painting and examines how popular scenes from the Medea myths were depicted, such as Medea and Pelias, Medea slaying her sons, and her flight on a chariot. It also analyzes passages from Euripides' play Medea describing Medea's speech to the Corinthian women and the deaths of Glauce and Creon.

    Copyright:

    © All Rights Reserved
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    60 views31 pages

    Medea

    Uploaded by

    Imran
    This document provides an overview and comparison of the myths, play, and visual representations of Medea. It summarizes the major Greek pottery styles of black figure and red figure painting and examines how popular scenes from the Medea myths were depicted, such as Medea and Pelias, Medea slaying her sons, and her flight on a chariot. It also analyzes passages from Euripides' play Medea describing Medea's speech to the Corinthian women and the deaths of Glauce and Creon.

    Copyright:

    © All Rights Reserved
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    of 31

    Medea and Medea in Painting

    Part One
    Introduction to Greek Pottery Types and Painting Styles
    Part Two
    Comparative Study between Medea-Myths, The Medea
    of Euripides, and Visual Representations on Pottery
    Part Three
    The Pre-Raphaelite Appropriations of the Occident and
    the Orient in Frederick Sandys’s Medea (1866-1868)
    Part One
    Introduction to Greek Pottery Types and
    Painting Styles

    • The Major Types of Greek Pottery


    • The “Black Figure” Painting
    • The “Red Figure” Painting
    • Positioning of Characters in the Scenes
    • The “Bilingual Amphora”
    Major Types of Greek Pottery
    Image Source URL: < http://www.hellenic-art.com/greek-pottery-glossary.html>
    The “Black Figure” Painting

    Above: Athena Defeats the Giant Enceladus on a Tyrian


    Black Figure Amphora, French lithograph, 1844-61, New
    York Public Library. Right: Achilles and Penthesilea,
    painted by Exekias, ca 540-30 B.C. British Museum
    The “Red Figure” Painting: Representations within Circles
    Right: Left:
    Athena Athena
    and and
    Heracles, Jason,
    Attic red- Attic
    figure red-
    kylix, ca figured
    480–470 kylix,
    BC ca 500 -
    450 BC

    Left: Hera
    Right: and
    Achilles Prometheus,
    and Attic red-
    Patroclus , figured
    Attic red- kylix, ca
    figure kylix, 490–480 BC
    ca 500 BC
    Right: The
    Duel of Characters
    Paris and (from left
    Menelaus, to right):
    Attic Red Aphrodite,
    Figure Paris,
    Kylix, by Menelaus,
    Douris, ca Artemis
    485-480 BC

    Characters Left: The Duel


    from left of Ajax and
    to right: Hector, Attic
    Athena, Red Figure
    Ajax, Kylix, by
    Hector, Douris, ca 485-
    Apollo 480 BC
    “Bilingual Amphora” showing Achilles and Ajax Playing Board Game, Black Figure version on the left by the Lysippides
    Painter and the Red Figure version on the right by the Andokides Painter, 530-520 BCE, Museum of Fine Arts, Boston
    Athenian The subject is
    Bilingual Feasting
    Amphora, Heracles. Black
    painted by the Figure version
    Andokides (below left) and
    Painter, Red Figure
    c. 525 B.C. version (Below
    Antikenmuseum, right)
    Munich
    Part Two
    Comparative Study between Medea-Myths, The Medea
    of Euripides, and Visual Representations on Pottery

    Popular Themes from Medea-Myths Rendered in


    Pottery Painting:

    • Medea and Pelias


    • Medea, Glauce, and Creon
    • Medea’s Slaying of Her Son(s)
    • Medea’s Celestial Flight on Her Chariot
    Medea and Pelias: “Black Figure” Representations

    Above: Attic Black Figure Neck Above: Medea Rejuvenates the Ram. Attic Black
    Amphora- Medea’s Promise to Pelias, Figure amphora, ca. 500 B.C.
    510 -500 BC, British Museum
    Medea and Pelias: “Red Figure” Representations

    Medea and Pelias. About 470 BC. Medea Rejuvinates the Ram, 480-
    London, British Museum 470 BC
    The Punishment of Pelias, Attic red-figured kylix by the Villa Giulia Painter, ca. 440 BC,
    Rome, Vatican Museums, Museo Gregoriano Etrusco
    Medea
    watches as
    Jason
    retreives the
    Golden
    Fleece,
    Apulian Red
    Figure.
    4th Century
    BCE
    “A Feminist Manifesto,” or “The Woman’s Question”? Medea to Corinthian Women, from The
    Medea of Euripides Translated by Gilbert Murray, 1906, Project Gutenberg Ebook, 2011
    <http://www.gutenberg.org/files/35451/35451-h/35451-h.htm>
    MEDEA
    [. . .] We must pay
    Our store of gold, hoarded for that one day,
    To buy us some man's love; and lo, they bring
    A master of our flesh! There comes the sting
    Of the whole shame. And then the jeopardy,
    For good or ill, what shall that master be;
    Reject she cannot: and if he but stays
    His suit, 'tis shame on all that woman's days.
    So thrown amid new laws, new places, why,
    'Tis magic she must have, or prophecy—
    Home never taught her that—how best to guide
    Toward peace this thing that sleepeth at her side.
    And she who, labouring long, shall find some way
    Whereby her lord may bear with her, nor fray
    His yoke too fiercely, blessed is the breath
    That woman draws! Else, let her pray for death.
    Her lord, if he be wearied of the face
    Withindoors, gets him forth; some merrier place
    Will ease his heart: but she waits on, her whole
    Vision enchainèd on a single soul.
    And then, forsooth, 'tis they that face the call
    Of war, while we sit sheltered, hid from all
    Peril!—False mocking! Sooner would I stand
    Three times to face their battles, shield in hand,
    Than bear one child.
    The Messenger’s account of the deaths of Glauce and Creon, from The Medea
    of Euripides Translated by Gilbert Murray, 1906, Project Gutenberg Ebook,
    2011
    <http://www.gutenberg.org/files/35451/35451-h/35451-h.htm>

    MESSENGER
    [. . .] The carcanet of gold
    That gripped her brow was molten in a dire
    And wondrous river of devouring fire.
    And those fine robes, the gift thy children gave—
    God's mercy!—everywhere did lap and lave
    The delicate flesh; till up she sprang, and fled,
    A fiery pillar, shaking locks and head
    This way and that, seeking to cast the crown
    Somewhere away. But like a thing nailed down
    The burning gold held fast the anadem,
    And through her locks, the more she scattered them,
    Came fire the fiercer, till to earth she fell
    A thing—save to her sire—scarce nameable,
    And strove no more.
    ….Death of Creon
    MESSENGER
    [. . .] So he cried.
    But after, when he stayed from tears, and tried
    To uplift his old bent frame, lo, in the folds
    Of those fine robes it held, as ivy holds
    Strangling among your laurel boughs.
    Oh, then A ghastly struggle came! Again, again,
    Up on his knee he writhed; but that dead breast
    Clung still to his: till, wild, like one possessed,
    He dragged himself half free; and, lo, the live
    Flesh parted; and he laid him down to strive
    No more with death, but perish; for the deep
    Had risen above his soul. And there they sleep,
    At last, the old proud father and the bride,
    Even as his tears had craved it, side by side.
    Medea, Glauce,
    and Creon, ca 320
    BC, by the
    “Underworld
    Painter,”
    Munich, Staatliche
    Antikensammlungen
    .
    Illusion of Stage Performance in the Specimen

    Athena Place Façade,


    resting representing
    “polis”
    Dioskouroi
    Creon Hippotes

    Corpse of
    Merope
    Glauce

    Medea
    slaying Helios
    one son
    The Altar,
    representing “oikos”
    Medea
    Kills Her
    Son,
    Campanian
    Red Figure
    Amphora,
    by the Ixion
    Painter, ca.
    330 BC,
    Louvre
    Medea’s Parting Speech to Jason, from The Medea of Euripides Translated by
    Gilbert Murray, 1906, Project Gutenberg Ebook, 2011
    <http://www.gutenberg.org/files/35451/35451-h/35451-h.htm>

    MEDEA.

    An easy answer had I to this swell


    Of speech, but Zeus our father knoweth well,
    All I for thee have wrought, and thou for me.
    So let it rest. This thing was not to be,
    That thou shouldst live a merry life, my bed
    Forgotten and my heart uncomforted,
    Thou nor thy princess: nor the king that planned
    Thy marriage drive Medea from his land,
    And suffer not. Call me what thing thou please,
    Tigress or Skylla from the Tuscan seas:
    My claws have gripped thine heart, and all things shine.
    [. . .]

    MEDEA.
    Never! Myself will lay them in a still
    Green sepulchre, where Hera by the Hill
    Hath precinct holy, that no angry men
    May break their graves and cast them forth again
    To evil. So I lay on all this shore
    Of Corinth a high feast for evermore
    And rite, to purge them yearly of the stain
    Of this poor blood. And I, to Pallas' plain
    I go, to dwell beside Pandion's son,
    Aegeus.—For thee, behold, death draweth on,
    Evil and lonely, like thine heart: the hands
    Of thine old Argo, rotting where she stands,
    Shall smite thine head in twain, and bitter be
    To the last end thy memories of me.

    [She rises on the chariot and is slowly borne away.]


    Medea Fleeing on Helios’ Chariot

    Red Figure Lucanian Hydria by the Policoro Painter, ca 400 BC. Policoro, Museo Nazionale
    della Siritide
    Medea Fleeing on Helios’ Chariot

    Phaliscan Red Figure Bell-Crater. 340-330 BC. Sankt Petersburg, Ermitage


    Medea Fleeing on Helios’ Chariot

    Lucanian Red Figure Krater Calyx,


    by the Policoro Painter, ca 400 BC,
    Cleveland Museum of Art,
    Cleveland, Ohio, USA
    Erinyes Erinyes

    Phrygian
    Helment

    Leaping The aureole


    Dog of the sun
    equals a
    serrated
    shield

    Upturned
    Signs of
    Hydria
    Violence in
    the “Myth”
    Medea as are
    “theos”? equivalent to
    Elements of
    Realism in
    the scene.
    Part Three
    The Pre-Raphaelite Appropriations of the
    Occident and the Orient in Frederick Sandys’s
    Medea (1866-1868)

    • Japanese and Greek Motifs in the Upper


    Background
    • Greek, Egyptian, and Chinese Motifs in the
    Lower Background
    • Egyptian and Scandinavian Motifs in the
    Foreground
    Medea by
    Frederick
    Sandys,
    1866-1868,
    oil on wood
    panel,
    Birmingham
    Museum and
    Art Gallery
    The Background (Medea’s “Past”: Argo Arrives [left] and Golden
    Fleece Retrieved [right])
    Bat Golden Fleece
    Crane
    Yōkai (?)

    Greek pottery style mixed with Japanese


    Dolphin Argo scroll/panel painting
    The Background (The “Present Magical Concoctions”: Greek
    and Egyptian Influences)
    Note: The Circles are flanked by Serpents

    Owl of Athena Seated Mummified Ammit the Khepri the Scarab


    Falcon-deity (Ra/Seker) Devourer
    The Chinese Dragon-Motif, as Represented in the Imperial
    Dragon Robe
    Right: Dragon Robe of
    Chinese Emperor Qianlong
    (1736-1796)
    18th century
    Grassi Museum, Leipzig,
    Germany

    Above: Detail of the


    Rising Dragon in
    Sandys’s Medea
    The Egyptian “Leonine” and the Teutonic “Dragonian”

    Above: The Dragon-


    Motif in the apparatus,
    Left : Sekhmet, detail from Sandys’s Medea. from Sandys’s Medea
    Above: The North Portal of the
    Right: Sekhmet, 18th Dynasty, Reign of 12th-century Urnes Stave Church,
    Amenophis III (1391 - 1353 BC), Louvre Norway, showing Horse, Dragon
    and Serpents

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