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Figures de dieux

 | 
Francis Prost
, 
Valérie Huet
, 
Sylvia Estienne
, 
et al.

Deuxième partie. Voir les dieux, penser le divin

From the Demonic to the Divine: Cauldrons, Choral Dancers and Encounters with the Gods

Deborah Steiner

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Extrait du texte

A well-known Protoattic neck amphora from Eleusis by the Polyphemus painter and dated to c. 670-50 preserves the largest extant vase painting (fig. 2)1. On its central field, two Gorgons, presented frontally as they move away from the headless body of their sister who seemingly floats horizontal in mid air, pursue Perseus fleeing around the damaged curve of the vase. The vessel fascinates scholars for any number of reasons: not only do its dimensions outstrip those of other amphoras for the period (it measures some 1,42 m in height) while its decoration offers “the most complete example known of the Black and White style2 ”; it also features our earliest visual representation of Perseus’ flight and among the first depictions of the Polyphemus episode on its neck; on this pot too Athena makes her début in Attic vase painting. While some studies focus chiefly on the meaning of the vessel’s rich iconography and detail its innovatory artistic techniques3, others are more concerned with ...

© Presses universitaires de Rennes, 2014

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