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News & Blog Designer Pack – WordPress Blog Plugin can be used as a news & blog page builder to create a news page or blog page with post grid, post slider, post carousel, post list, post masonry, recent posts, popular posts, post ticker, post grid box, post timeline, featured posts etc.
News & Blog Designer Pack is also useful to create a news magazine website.
✅ Blog Designer Pack having 7 blog layouts/shortcodes:
- 6 shortcodes with 2 designs for each blog layout or news layout.
- 1 Post ticker shortcode.
- 2 Widgets (Latest posts and Post vertical scrolling).
View FREE DEMO for more details.
Checkout Premium Version Demo | Buy Premium Version for more designs and options.
Premium Version supports custom post type, custom taxonomy, custom tags, featured post, trending post, timeline, category grid, category slider as well as many cool features.
You can get News & Blog Designer Pack Premium here!
✅ Blog Designer Pack is perfect for:
- Post Grid, News Grid or Blog Grid
- Post Carousel, News Carousel or Blog Carousel
- Post Slider, News Slider or Blog Slider
- Post List, News List or Blog List
- Post Masonry, News Masonry or Blog Masonry
- Post Grid Box, News Grid Box or Blog Grid Box
- Post Ticker, News Ticker or Blog Ticker
- Post Vertical Scrolling, News Vertical Scrolling or Blog Vertical Scrolling
News & Blog Designer Pack is the #1 plugin for creating fully customized News, Magazines, Review Websites, Personal Blogs, Travel Blogs, Fashion Blogs, Viral News, Food Reviews, Recipes Blogs, etc.
✅ Best News, Magazine & Blog Building Tool
News & Blog Designer Pack is mostly used for creating News Magazine sites. So, It is also well known as News Plugin. However, it is a multi-functional plugin that fulfills all required features for creating blogs along with news and magazine sites.
✅ Blog Designer Pack contains 7 shortcodes
: Display blog post or news post in grid view.[bdp_post_list]
: Display blog post or news post in list view.[bdp_masonry]
: Display blog post or news post in masonry layouts.[bdp_post_slider]
: Display recent blog post or news post in slider view.[bdp_post_carousel]
: Display recent blog post or news post in carousel view.[bdp_post_gridbox]
: Display blog post or news post in grid box layout.[bdp_ticker]
: Display blog post or news post in ticker.
Common Shortcode Parameters for all
limit="10″ (i.e. Display 5 blog posts on your website and then pagination. To show all posts use limit="-1″) -
Display by Category
category="category_ID" OR category="category_slug" (i.e. Display blog posts by their category ID OR Slug) -
design="design-1″ (Select design for blog post. There are 2 designs. design-1 and design-2) -
Show Blog Author:
show_author="false" (Show blog post author or not. Values are true or false) -
Show Blog Category:
show_category="false" (Show blog post category or not. Values are true or false) -
Show Blog Date:
show_date="false" (Show blog post date or not. Values are true or false) -
Show Blog Content:
show_content="false" (Show blog post content or not. Values are true or false) -
Content Words Limit:
content_words_limit="40″ (Set blog post content words limit.) -
Media Size:
media_size="large" (Set media size for post. Values are thumbnail, medium, medium_large, large, full) -
Show Read More:
show_read_more="true" (Show read more button of blog post. Values are true or false) -
Post Order:
order="DESC" (Designates the ascending or descending order of the 'orderby' parameter. Defaults to 'DESC'. Values are "DESC" and "ASC") -
Post Order by :
orderby="post_date" (Sort retrieved posts by parameter. Defaults to 'date' (post_date). One or more options can be passed. 'none', ID', 'author', 'title', 'name', 'rand', 'date') -
Show Tags:
show_tags="true" (Show tags of blog post. Values are true or false) -
Show Comments:
show_comments="true" (Show comments of blog post. Values are true or false)
Others Shortcode Parameters Grid Shortcode
Post Grid :
[bdp_post grid="2″] (Set blog post grid i.e. 1 or 2 or 3 or 4 or 5) -
Post Pagination :
[bdp_post pagination="true"] (Show blog post pagination or not. Values are true or false)
Others Shortcode Parameters List Shortcode
- Post Pagination :
[bdp_post_list pagination="true"] (Show blog post pagination or not. Values are true or false)
Others Shortcode Parameters Masonry Shortcode
Post Grid :
[bdp_masonry grid="2″] (Set blog post grid i.e. 1 or 2 or 3 or 4 or 5) -
Post Pagination :
[bdp_masonry pagination="true"] (Show blog post pagination or not. Values are true or false) -
Load More Post Effect :
[bdp_masonry effect="effect-2″] (Set effect when you click on load more post button. There are 2 effects) -
Load More Text :
[bdp_masonry load_more_text="Load More Post"] (Change the text as per your need)
Others Shortcode Parameters Slider Shortcode
Pagination and arrows:
[bdp_post_slider dots="false" arrows="false"] -
Auto Play and Auto Play Interval:
[bdp_post_slider autoplay="true" autoplay_interval="2000″] -
Slide Speed:
[bdp_post_slider speed="1000″] -
[bdp_post_slider loop="true"] ( Display slider in Loop OR not : You can use "true" OR "false")
Others Shortcode Parameters Carousel Shortcode
Number of Posts Show at a Time:
[bdp_post_carousel slide_show="3″] -
Number of Posts Scroll at a Time:
[bdp_post_carousel slide_scroll="1″] -
Pagination and arrows:
[bdp_post_carousel dots="false" arrows="false"] -
Autoplay and Autoplay Interval:
[bdp_post_carousel autoplay="true" autoplay_interval="2000″] -
Slide Speed:
[bdp_post_carousel speed="1000″] -
[bdp_post_carousel loop="true"] (Display slider in Loop OR not : You can use "true" OR "false")
Others Shortcode Parameters GridBox Shortcode
- Post Pagination :
[bdp_post_gridbox pagination="true"] (Show post pagination or not. Values are "true" or "false")
Others Shortcode Parameters Ticker Shortcode
Ticker Title :
[bdp_ticker ticker_title="Latest"] (Set Ticker title) -
Ticker Theme Color :
[bdp_ticker theme_color="#2096cd"] -
Ticker Heading Font Color :
[bdp_ticker heading_font_color="#fff"] -
Ticker Heading Font Color :
[bdp_ticker heading_font_color="#fff"] -
Ticker Font Style :
[bdp_ticker font_style="normal"] -
Ticker Effect :
[bdp_ticker ticker_effect="slide-v"] (You can use slide-v or slide-h) -
Ticker Auto Play :
[bdp_ticker autoplay="true"] (You can use "true" OR "false") -
Ticker Speed :
[bdp_ticker speed="3000″]
Others parameter for ticker i.e. 'category', 'order' and 'orderby' you can use from common shortcodes.
Blog Designer Pack is a good handy and free solution for everyone who is looking for a responsive blog page with the website. Blog Designer pack provides you with a variety of 6 different blog templates to setup your blog page for any WordPress websites. Sometimes, we always stick with one blog layout as per theme, but it's not easy to change or modify only blog layout very easily, only you can do it by modifying code and CSS files.
However, using Blog Designer Pack plugin you can design your blog page as per your choice to give it a WOW factor. Also you can modify various settings very quickly with the help of Blog Designer pack plugin shortcode parameters. So, beginners can start blogging within 5 minutes, no coding skill required.
✅ PRO Features Include :
Premium Version
* 90+ News and Blog Designs
* Create multiple news and blog layout.
* Works with any Custom Post Type.
* Works with any Custom Taxonomy.
* Works with any Custom Tags.
* Set custom link for blog post or news post.
* Display Blog in a Timeline View.
* Category Grid View.
* Category Slider View.
* Featured Post Functionality.
* Trending Post Functionality.
* Multiple Post Type Functionality.
* 5 Types of different pagination.
* Load More and Prev – Next Ajax Pagination.
* Infinite Scroll Pagination.
* Shortcode Generator with Live Preview Panel – No hassles for documentation.
* Amazing Shortcode Template Functionality – Control your shortcode from one place on various location!!
* Set "Order" and "Orderby" sorting parameters via shortcode.
* Drag & Drop Post Order Change.
* WPBakery Page Builder support.
* Elementor Page Builder support.
* Slider RTL support.
* 100% Multi language.
* Many more other features also…View PRO DEMO and Features for additional information.
✅ Ajax Pagination
Ajax Pagination is similar to the Ajax filter that helps to explore posts or blog without reloading the whole page. Blog Designer Pack offers 6 types of pagination, which include:
- Numeric
- Numeric with Ajax
- Prev & Next
- Prev & Next with Ajax
- Load More
- Infinite Scroll
✅ Where Blog Designer Pack plugin is useful ?
- Blog section or blog page of website.
- Blogging website.
- News section or news page of website.
- News magazine website.
- Business & Technology idea sharing.
- Your company story timeline.
- My achievements (timeline).
- Fashion blog website.
- Latest blog trending posts.
- Latest blog featured posts.
- NGO website to share news/update.
- Personal blog site.
Logo credit : Freepik
What's Next
If you find News & Blog Designer Pack – WordPress Blog Plugin plugin useful, please leave a good rating and consider checking out our other plugins:
- Post Slider and Carousel with Widget – A Responsive Post Slider and Post Carousel Plugin
- Logo Showcase with Slick Slider – Logo Carousel, Logo Slider & Logo Grid Plugin
- Posts List Designer by Category – Display Posts by Category in a List View
- Upload the 'blog-designer-pack' folder to the '/wp-content/plugins/' directory.
- Activate the Blog Designer Pack plugin through the 'Plugins' menu in WordPress.
- Add and manage blog post items on your site by clicking on the 'Post' tab that appears in your admin menu.
Why My Blog Page is not changed OR Blog Page Design is same like Theme Design?
Blog page content is handled by WordPress it self.
To enable Blog Designer Pack plugin design on Blog page, you need to make sure that Blog page should not be selected on posts page of Reading settings. ( Settings > Reading)
We recommend that please read the below sections for more details.
Blog page is already created
If "Blog" page is already created and assigned that page as a Posts page under WordPress Settings > Reading then please change that selection to default one ( " — Select — " ) from the drop down. Once you de-select this setting, open your "Blog" page in edit mode and add the plugin shortcode (Shortcodes are shown under Getting Started section of plugin menu)
Blog page is not created
If Blog page is not created then go to Pages > Add New and create a blog page OR some other name as per your need and add the shortcode.
Where can I find complete shortcode parameters?
Each shortcode parameters can be found on this page at plugin "Details" tab.
Where can I ask for help or talk for plugin issues?
If you need any help, you can ask it at Blog Designer Pack plugin Support Forum page.
Can I create post sliders or post carousel with the help of Blog Designer Pack plugin?
Yes, plugin have Slider and Carousel layout shortcode available with two built-in designs.
Does Blog Designer Pack plugin have pagination?
Yes, Blog Designer Pack plugin have pagination feature. There are still four types of different pagination like "Load More", "Infinite Scroll" and etc available in Pro version.
What about custom post type support?
Custom Post type support only available with Blog Designer Pack PRO version.
Can I create category grid or slider with the help of Blog Designer Pack plugin?
Category grid or slider only available with Blog Designer Pack PRO version.
Will Blog Designer Pack plugin work with my theme?
Yes, Blog Designer Pack will work with any WordPress themes, but may require some styling changes to make it compatible with your theme. If you are facing any compatibility issue with Blog Designer Pack plugin then please contact us at Support Forum page.
Contributors & Developers
"News & Blog Designer Pack – WordPress Blog Plugin — (Blog Post Grid, Blog Post Slider, Blog Post Carousel, Blog Post Ticker, Blog Post Masonry)" is open source software. The following people have contributed to this plugin.
Contributors"News & Blog Designer Pack – WordPress Blog Plugin — (Blog Post Grid, Blog Post Slider, Blog Post Carousel, Blog Post Ticker, Blog Post Masonry)" has been translated into 1 locale. Thank you to the translators for their contributions.
Interested in development?
Browse the code, check out the SVN repository, or subscribe to the development log by RSS.
3.4.7 (23 July, 2024)
- [*] Update Freemius SDK to latest version 2.7.3
3.4.6 (06 July, 2024)
- [*] Fixed one PHP warning with PHP version 8.1
- [*] Check compatibility with WordPress 6.6
3.4.5 (05 May, 2024)
- [*] Added 'Post Content Fix' functionality to get post content between the shortcode when post is built with page builders or shortcodes.
- [*] Improved plugin text domain code.
- [*] Bump minimum WordPress version to 4.7
- [*] Check compatibility with WordPress 6.5.2
- [*] Update Freemius SDK to latest version 2.7.2
3.4.4 (17 March, 2024)
- [*] Check compatibility with WordPress 6.5
- [*] Update Freemius SDK to latest version 2.6.2
3.4.3 (15 Nov, 2023)
- [*] Check compatibility with WordPress 6.4.1
- [*] Update Freemius SDK to latest version 2.6
3.4.2 (26 Oct, 2023)
- [*] Update Load More functionality with better security.
3.4.1 (17 July, 2023)
- [*] Update Freemius SDK to latest version 2.5.10
3.4 (21 May, 2023)
- [*] Check compatibility with WordPress 6.2.2
- [*] Update Freemius SDK to latest version 2.5.8
3.3 (05 Jan, 2023)
- [*] Update – Use escaping functions for better security.
- [*] Check compatibility with WordPress 6.1.1
3.2 (17 Nov, 2022)
- [+] Added Divi Theme support to display post short content if post is designed with DIVI page builder.
- [*] Fixed 'Show Date' and 'Show Category' option remain selected in widgets.
- [*] Updated Freemius SDK to latest version 2.5.2
- [*] Check compatibility with WordPress 6.1
3.1 (13 Aug, 2022)
- [*] Fix 'content_words_limit' shortcode parameter is not working for post excerpt.
- [*] Fix some undefined variable warning within Widget.
- [*] Fix shortcode builder default parameter issue.
3.0 (05 Aug, 2022)
- [*] Updated Freemius SDK to latest version 2.4.5
- [*] Taken care of data sanitization & data escaping for better security.
2.3.2 (29 May, 2022)
- [*] Check compatibility with WordPress 6.0
2.3.1 (26 Feb, 2022)
- [*] Check compatibility with WordPress 5.9.1
- [*] Update Freemius SDK to latest version 2.4.3
2.3 (30 Jan, 2022)
- [*] Fixed plugin JS initialize issue within WP Bakery page builder.
- [*] Check compatibility with WordPress 5.9
2.2.9 (26 Dec, 2021)
- [*] Removed one unnecessary function.
2.2.8 (22 Nov, 2021)
- [*] Tested with WP 5.8.2
- [*] Fixed Masonry layout load more issue when category slug used.
- [*] Updated Freemius SDK to latest version.
2.2.7 (07 April, 2021)
- [*] Code optimization.
- [*] Removed some unused functions.
2.2.6 (25 March, 2021)
- [*] Replaced some jQuery deprecated syntax with jQuery 3.0+ syntax.
- [*] Tested up to WordPress 5.7
- [-] Removed one admin notice.
2.2.5 (14 Dec, 2020)
- [*] Updated Freemius SDK to latest version.
- [*] Tested up to WordPress 5.6
- [+] Added blog-designer-pack-es_MX.po file
2.2.4 (15 Sep, 2020)
- [*] Fixed one JavaScript issue.
2.2.3 (08 Sep, 2020)
- [+] Added category Slug support for shortcode parameter "category". Now you can use this parameter with category id as well as category slug. e.g. category="5″ OR category="technology" where 5 is category id and technology is category slug.
- [+] Added a new class for meta separator in all designs files as requested by many users.
- [*] Updated public JS file to avoid JS error conflict with any other 3rd party plugin/theme.
- [*] Fixed Shortcode Builder – Masonry load more pagination issue.
2.2.2 (19 Aug, 2020)
- [*] Check compatibility with WordPress 5.5
2.2.1 (23 July, 2020)
- [*] Fixed fatal error when activating the Premium version or vice versa.
2.2 (23 July, 2020)
- [+] Added Shortcode Builder – Now create shortcode easily.
- [*] Improved get in started page.
- [*] Fixed some design related issues.
- [*] Fixed Vertical Scrolling JS issue.
2.1 (06 June, 2020)
- [+] Added Elementor shortcode widget support.
- [+] Added Visual Composer page builder raw HTML and text block support.
- [*] Fixed pagination issue if shortcode added in single post.
- [*] Fixed slider shortcode design issue where no image is added as a background image.
- [*] Vertical Scrolling JS update for better output.
- [-] Removed some unwanted CSS.
2.0 (21 March, 2020)
- [*] Added 'Getting Started' page for better user experience.
1.1 (14 Jan, 2020)
- [*] Added Freemius SDK for freemium version.
1.0.9 (07 Nov, 2019)
- [*] Check plugin compatibility with WordPress 5.3
1.0.8 (21 Aug, 2019)
- [*] Resolved some string translation issue.
- [*] Fixed some designing issues.
1.0.7 (18 Aug, 2019)
- [+] Added language .pot file for translation.
- [*] Appropriate formatting of template files.
- [*] Used post title as a image alt tag for better SEO purpose.
- [*] Used escaping function in template files.
- [*] Prevent template file to open directly via URL.
1.0.6 (14 July, 2019)
- [*] Fix some wrong text domain for translation.
- [*] Changed wp_reset_query() to wp_reset_postdata().
- [*] Fixed some other small issues and checked all shortcodes parameters.
- [+] Updated plugin translation code. Now user can put plugin languages file in WordPress "language" folder so plugin language file will not be loss while plugin update.
- [*] Follow WordPress plugin guidelines.
- [*] Fixed some small-small design related issue.
- [*] Added Pro version if you need more designs and option.
- [*] Fixed some CSS issues
- [*] Resolved Fatal error when post featured image is not set..
- Initial release.


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Effective Date: 12 November 2016
This website is owned and operated by Arif Rampuri, trading under the name shown on this website, of 43-51 New North Road, London, N1 6LW.
Please read these terms and conditions carefully. They cancel and replace any previous versions. Please print or save these terms for future use as we cannot guarantee that they will remain accessible on our website in future. These terms and conditions are available in the English language only.
These terms and conditions apply to use of our website. The supply of our service is subject to separate terms and conditions.
We may change these terms and conditions by posting the revised version on our website at any time. Please check our website from time to time. You will be bound by the revised agreement if you continue to use our website following the effective date shown.
You agree that you will not in connection with our website:
- breach any applicable law, regulation or code of conduct or infringe any intellectual property or other rights of others;
- publish or send any information (including links or references to other content), or otherwise behave in a manner, which:
- is unlawful, defamatory, threatening, harassing, invasive of privacy, offensive, vulgar, racist, hateful, discriminatory, obscene, pornographic, sexually suggestive, promoting of self-harm, misleading, abusive or deceptive;
- infringes any intellectual property or other rights of others;
- involves phishing or scamming or similar; or
- we otherwise reasonably consider to be inappropriate;
- publish or send any information which involves revealing any personal data of another person (i.e. information enabling someone to be identified or contacted) unless that person is 18 years or over and you have obtained that person's explicit written consent or you are the parent/guardian of such person;
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You acknowledge that any information published or sent on or via our service by other users is the sole responsibility of the person from whom such content originated and we are not responsible for it.
We cannot guarantee that any general information that we may make available on our website is accurate or up to date. You rely on it at your own risk.
If you post a review, rating or comment ("Review") you promise that you have no personal or business relationship with the entity, product or service being reviewed, that you have not been offered any incentive on behalf of the entity being reviewed to write the Review, that you are not a competitor of the entity concerned and that the Review is your independent, honest, genuine opinion.
We reserve the right without notice or refund to suspend, alter, remove or delete content or to disclose to the relevant authorities any content or behaviour if it is the subject of complaint or where we have reason to believe that it breaches our terms and conditions, or that such steps are necessary to protect us or others, or that a criminal act has been committed, or if we are required to do so by law or appropriate authority.
You acknowledge and agree that we may process your personal data in accordance with the terms of our privacy and cookies policy which is subject to change from time to time.
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Nothing in this agreement in any way limits or excludes our liability for negligence causing death or personal injury or for fraudulent misrepresentation or for anything which may not legally be excluded or limited. In this section, any reference to us includes our employees and agents.
You must give us a reasonable opportunity to remedy any matter for which we are potentially liable before you incur any costs remedying the matter yourself.
If you are a consumer (ie not acting in the course of a business), we shall not be liable for any loss or damage caused by us or our employees or agents in circumstances where:
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If you have any complaints, please contact us via the contact details shown below.
Version 1.0

subset: commoncrawl


text:
Gibson's natural, grain-free, USA turkey & chicken dog treats are made from high quality, human grade ingredients, and a unique solar powered toasting process that seals in the flavor. Packed in their artful, USA made bags, these soft jerky treats are ready for your dog to enjoy! 3oz.
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Smartphones are capable of giving us directions when we're lost, sending photos and videos to our friends in mere seconds, and even helping us find the best burger joint in a three-mile radius. But thanks to UH Cullen College of Engineering researchers, smart phones may soon be boasting another very important function: diagnosing diseases in real time.
The researchers are developing a disease diagnostic system that offers results that could be read using only a smartphone and a $20 lens attachment.
The system is the brainchild of Jiming Bao, assistant professor of electrical and computer engineering, and Richard Willson, Huffington-Woestemeyer Professor of Chemical and Biomolecular Engineering. It was created through grants from the National Institutes of Health and The Welch Foundation, and was recently featured in ACS Photonics.
This new device, like essentially all diagnostic tools, relies on specific chemical interactions that form between something that causes a disease—a virus or bacteria, for example—and a molecule that bonds with that one thing only, like a disease-fighting antibody. A bond that forms between a strep bacteria and an antibody that interacts only with strep, for instance, can support an ironclad diagnosis.
The trick is finding a way to detect these chemical interactions quickly, cheaply and easily. The solution proposed by these professors involves a simple glass slide and a thin film of gold with thousands of holes poked in it.
Creating this slide is itself an achievement. This task, which is led by Bao, starts with a standard slide that is covered in a light-sensitive material known as a photoresist. He next uses a laser to create a series of interference fringes—basically lines—on the slide, and then rotates it 90 degrees and creates another series of interference fringes. The intersections of these two sets of lines creates a fishnet pattern of UV exposure on the photoresist. The photoresist is then developed and washed away. While most of the slide is then cleared, the spots surrounded by intersecting laser lines—the 'holes' in the fishnet—remain covered, basically forming pillars of photoresist.
Next, he exposes the slide to evaporated gold, which attaches to photoresist and the surrounding clean glass surface. Bao then performs a procedure called lift-off, which essentially washes away the photoresist pillars and the gold film attached to them.
The end result is a glass slide covered by a film of gold with ordered rows and columns of transparent holes where light can pass through.
These holes, measuring about 600 nm each, are key to the system. Willson and Bao's device diagnoses an illness by blocking the light with a disease-antibody bond – plus a few additional ingredients.
This is where Willson comes in. An internationally known biomolecular engineer, he starts by placing disease antibodies in the holes, where they are coaxed into sticking to the glass surface. Next, he flows a biological sample over the slide. If the sample contains the bacteria or virus being sought out, it will bond with the antibody in the hole.
This bond alone, though, doesn't block the light. "The thing that binds to the antibody is probably not big and grey enough to darken this hole, so you have to find a way to darken it up somehow," Willson said.
Willson achieves this by flowing a second round of antibodies that bond with the bacteria over the slide. Attached to these antibodies are enzymes that produce silver particles when exposed to certain chemicals. With this second set of antibodies now attached to any bacteria that are in the holes, Willson then exposes the entire system to the chemicals that encourage silver production. About 15 minutes later he rinses off the slide. Thanks to chemical properties of the gold, the silver particles in the holes will remain in place, completely blocking light from getting through.
At this point, the smartphone can come in. One of the advantages of this system is that its results can be read with very simple tools. A basic microscope used in elementary school classrooms, Willson said, provides enough light and enough magnification to show whether holes are blocked. With a few small tweaks, a similar reading could almost certainly be made with a phone's camera, flash and an attachable lens.
This system, then, promises readouts that are easy to interpret and very affordable, especially compared to other diagnostic tools.
"Some of the more advanced diagnostic systems need $200,000 worth of instrumentation to read the results," said Willson. "With this, you can add $20 to a phone you already have and you're done."
There are still some major technical hurdles to clear before this system can be rolled out, Willson noted. One of the biggest challenges is finding a way to drive the bacteria and viruses in the sample down to the surface of the slide to ensure the most accurate results.
But if such problems are overcome, the system would be an excellent tool for healthcare providers in the field. At the site of an industrial accident, for instance, the holes on a single slide could be populated with molecules that bond with 10 potential contaminants, allowing response teams to quickly assess the situation. In economically disadvantaged areas, such a system could be used to screen large groups of people for widespread and serious health problems, like diabetes.
"There are a lot of situations where an affordable diagnostic tool that is simple to use and simple to interpret could be very useful," said Willson. "If both your disposables and your reader are cheap, that makes it a lot easier to extend your system out into the real world."
Transmissive Nanohole Arrays for Massively-Parallel Optical Biosensing
Source: Univ. of Houston


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text: Past Weight Loss an Overlooked Factor in Disordered Eating September 24, 2013 Dr. Michael Lowe's team has published a flurry of studies showing the effect of a person's change from their own past highest weight, or weight suppression, on eating disorders. Dieters and weight loss researchers are familiar with the principle: The more weight you've lost, the harder it is to keep it off. A complex and vicious cycle of biological and behavioral factors make it so. But eating disorder research has largely overlooked this influence, and Dr. Michael Lowe, a professor of psychology at Drexel University, has published a flurry of research studies showing that needs to change. "The focus of eating disorder research has very much been on the state of patients' thoughts, beliefs, emotions and personalities," Lowe said. "And while these mental influences are undoubtedly part of the problem, historically there has been very little focus on how their current and past body weights contribute to their eating disorder." Lowe and colleagues' studies – about a dozen on bulimia nervosa have been published in the past several years – show that having an elevated past body weight, and being at a body weight well below highest past weight, may help cause and perpetuate disordered eating. The latest of Lowe's studies was just published in The Journal of Abnormal Psychology, the top journal for eating disorder research, and is the team's first to address this principle in anorexia nervosa. The findings, Lowe says, show that researchers and clinicians need to start taking into account how a person's historical and current body weight contribute to disordered eating. "This fundamentally changes the assumption that the problem is primarily psychological or emotional," Lowe said. The new study, led by doctoral student Laura A. Berner, was based on data collected at the Renfrew Center for eating disorders in Philadelphia, where Lowe is also a consultant. The researchers found that the level of eating disorder symptoms, as well as degree of improvement during treatment, depends on how much weight anorexic patients had lost from their previous highest weight (a measure called "weight suppression"), how much they currently weigh and the interaction between the two. After controlling for patients' body mass index (BMI, which is a known indicator of disease severity), they found that patients with greater weight suppression had more severe symptoms of anorexia than patients whose low weight was closer to their historical highest weight. Standard measures of disordered eating such as shape concerns, eating concerns, binge eating, depression and menstrual abnormalities were correlated with weight suppression, current BMI, or both. Lowe said that researchers and clinicians who already use weight or BMI as an absolute measure of eating disorder severity should also consider weight suppression as a relative measure. Lowe said that researchers and clinicians who already use weight or BMI as an absolute measure of eating disorder severity should also consider weight suppression as a relative measure. These findings also may have important implications for treatment. "The standards for treating anorexia nervosa are all about 'how much weight do they need to gain to meet a minimally healthy body weight for their height,'" Lowe said. "What we've rarely asked, is 'what did this patient weigh before she developed anorexia?'" Lowe said his ongoing research suggests that the answer is that many anorexic patients weighed more than their peers before developing anorexia. "If the patient's body somehow 'remembers' that past higher weight, then even at the minimally healthy body weight she is still going to be struggling mightily to maintain her weight," Lowe said. "That perspective is new. It suggests that future treatments might work toward finding a healthier 'balance point' between what patients once weighed and what they currently weigh." "It is really helpful to have more than one way to look at weight in the eating disorders; we now have evidence that absolute weight and relative weight are both important in predicting difficulties in our work towards full recovery," said Dr. Susan Ice, vice president and chief medical officer of The Renfrew Center. "And it is immensely satisfying to find that science has discovered that there is physical memory or a kind of 'wisdom' in the body." Lowe and his research team were recently funded by the National Institute of Mental Health to further investigate the role of these weight-related variables on bulimia nervosa. Individuals with symptoms of bulimia who are interested in participating in this federally funded study may call 215-553-7171 or email email@example.com for additional information. Another research laboratory at Drexel, the Laboratory for Innovations in Health-Related Behavior Change, is recruiting participants who have experienced binge eating problems but do not engage in compensatory behaviors such as self-induced vomiting or laxative use. One project is investigating a new smartphone app for binge eating and the other is evaluating an in-person treatment. Individuals who are interested in participating in these research studies may call 215-553-7100. Contact Rachel Ewing 215.895.2614 firstname.lastname@example.com


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One of the best ways to create a gorgeous bead soup is to hand select colors and shapes that work well together, as well as with your favorite techniques. A lot of bead sellers create their own custom mixes and blends, so the work of building a palette is done for you. If you want to experiment with concocting your own bead soup recipes, leftover beads are a great way to play with colors.
Starting with a single color is a good way to play it safe and see what your beads can do. You can mix together similar hues and shades to get a wonderful monochrome palette of ready-to-use seed beads. It's a good idea to keep track of how much you're adding with each new color, especially if you already have a project in mind. This way you can get a good balance of shades and be sure you'll have enough beads to complete your design. If you're not sure how your mix will turn out, start with a few grams of each color and add a dash of this-and-that until you get the perfect blend.
Mix together seed beads of different sizes for texture.
Blue is a great color for bead soups because you can combine almost any number of shades together and they'll still look great. Turquoise, aqua, cobalt, indigo…they all play well together. When planning your soup, try placing the beads you want to use together before mixing, to see how different finishes will look. Sometimes transparent, lined, or matte looks great when mingled, but different finishes can dramatically affect how other colors look.
Shaped seed beads are great in soups.
This green mix is a great example of too many shades. The mint and lime beads would look wonderful paired with the emerald. When all three come together, they clash. One way to salvage this soup would be to add some yellow or blue. This would allow either the mint or lime to attach itself visually to the new color, leaving the other to pair off with emerald.
Try adding accents of similar sizes and shapes to start.
You can add accent beads directly to your bead soups. This is a great way to build a palette for freeform peyote, multistrand pieces, or bead embroidery. Depending on your project, you may want to go for a small range of sizes (from 3 to 6 mm), or add a handful of chunkier pieces. This is another great way to use up odds and ends in your bead stash.
Bead soups look great with freeform stitches and motifs.
Blending similar hues together can work out really well. This mix combines neutrals and a variety of warm tones for a sandy look. Starting with a base of neutrals (white, black, grey or beige) and then adding a few highlights is a great way to experiment with mixing colors.
Bead soups are great for multistrand and fringe projects.
You can also use multiple bead soups in a single design. To create an ombré effect, create two bead soups with colors that are close together on the color wheel, or use one all-neutral palette. Remove one third of each soup and mix those thirds together to create an additional blend. Alternate between the three soups to gradually change the look and color of your beadwork.
If you're not using a bead spinner or stringing multiple beads at once, it can be tricky to find a truly random groove. When working with mixes, I like to pour out a portion of soup onto my workspace, then pinch a few grams into a line that I can choose from. By moving steadily through this row of beads, I can be sure that I'm not favoring a color or creating a pattern instinctively.
Do you like to mix your beads together? What's your favorite bead soup palette?
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Red-figure pottery
Red-figure vase painting is one of the most important styles of figural Greek vase painting.
It developed in Athens around 520 BCE and remained in use until the late 3rd century BCE. It replaced the previously dominant style of black-figure vase painting within a few decades. Its modern name is based on the figural depictions in red color on a black background, in contrast to the preceding black-figure style with black figures on a red background. The most important areas of production, apart from Attica, were in Southern Italy. The style was also adopted in other parts of Greece. Etruria became an important center of production outside the Greek World.
Attic red-figure vases were exported throughout Greece and beyond. For a long time, they dominated the market for fine ceramics. Few centers of pottery production could compete with Athens in terms of innovation, quality and production capacity. Of the red-figure vases produced in Athens alone, more than 40,000 specimens and fragments survive today. From the second-most important production center, Southern Italy, more than 20,000 vases and fragments are preserved. Starting with the studies by John D. Beazley and Arthur Dale Trendall, the study of this style of art has made enormous progress. Some vases can be ascribed to individual artists or schools. The images provide evidence for the exploration of Greek cultural history, everyday life, iconography, and mythology.
Red figure is, put simply, the reverse of the black figure technique. Both were achieved by using the three-phase firing technique. The paintings were applied to the shaped but unfired vessels after they had dried to a leathery, near-brittle texture. In Attica, the normal unfired clay was an orange color at this stage. The outlines of the intended figures were drawn either with a blunt scraper, leaving a slight groove, or with charcoal, which would disappear entirely during firing. Then the contours were redrawn with a brush, using a glossy clay slip. Occasionally, the painter decided to somewhat change the figurative scene. In such cases the grooves from the original sketch sometimes remain visible. Important contours were often drawn with a thicker slip, leading to a slightly protruding outline (relief line); less important lines and internal details were drawn with diluted glossy clay.
Detail in other colors, Including white or red, were applied at this point. The relief line was probably drawn with a bristle brush or a hair, dipped in thick paint. (The suggestion that a hollow needle could account for such features seems somewhat unlikely.)[lower-alpha 1] The application of relief outlines was necessary, as the rather liquid glossy clay would otherwise have turned out too dull. After the technique's initial phase of development, both alternatives were used, to differentiate gradations and details more clearly. The space between figures was filled with a glossy grey clay slip. Then, the vases underwent triple-phase firing, during which the glossy clay reached its characteristic black or black-brown color through reduction, the reddish color by a final re-oxidation.[lower-alpha 2] Since this final oxidizing phase was fired using lower temperatures, the glazed parts of the vase did not re-oxidize from black to red: their finer surface was melted (sintered) in the reducing phase, and now protected from oxygen.
The new technique had the primary advantage of permitting a far better execution of internal detail. In black-figure vase painting such details had to be scratched into the painted surfaces, which was always less accurate than the direct application of detail with a brush. Red-figure depictions were generally more lively and realistic than the black-figure silhouettes. They were also more clearly contrasted against the black backgrounds. It was now possible to depict humans not only in profile, but also in frontal, rear, or three-quarter perspectives. The red-figure technique also permitted the indication of a third dimension on the figures. However, it also had disadvantages. For example, the distinction of sex by using black slip for male skin and white paint for female skin was now impossible. The ongoing trend to depict heroes and deities naked and of youthful age also made it harder to distinguish the sexes through garments or hairstyles. In the initial phases, there were also miscalculations regarding the thickness of human figures.
In black-figure vase painting, the pre-drawn outlines were a part of the figure. In red-figure vases, the outline would, after firing, form part of the black background. This led to vases with very thin figures early on. A further problem was that the black background did not permit the depiction of space in any depth, so that spatial perspective was almost never attempted. Nonetheless, the advantages outnumbered the disadvantages. The depiction of muscles and other anatomical details clearly illustrates the development of the style.[1]
Black-figure vase painting had been developed in Corinth in the 7th century BCE and quickly became the dominant style of pottery decoration throughout the Greek world and beyond. Although Corinth dominated the overall market, regional markets and centers of production did develop. Initially, Athens copied the Corinthian style, but it gradually came to rival and overcome the dominance of Corinth. Attic artists developed the style to an unprecedented quality, reaching the apex of their creative possibilities in the second third of the 6th century BCE. Exekias, active around 530 BCE, can be seen as the most important representative of the black-figure style.
In the 5th century BCE Attic fine pottery, now predominantly red-figure, maintained its dominance in the markets. Attic pottery was exported to Magna Graecia and even Etruria. The preference for Attic vases led to the development of local South Italian and Etrurian workshops or "schools", strongly influenced by Attic style, but producing exclusively for local markets.
The first red-figure vases were produced around 530 BCE. The invention of the technique normally is accredited to the Andokides Painter. He, and other early representatives of the style, e.g. Psiax, initially painted vases in both styles, with black-figure scenes on one side, and red-figure on the other. Such vases, e.g. the Belly Amphora by the Andokides Painter (Munich 2301), are called bilingual vases. Although they display major advances against the black-figure style, the figures still appear somewhat stilted and seldom overlap. Compositions and techniques of the older style remained in use. Thus incised lines are quite common, as is the additional application of red paint ("added red") to cover large areas.[2]
Pioneering phase
The artists of the so-called "Pioneer Group" made the step towards a full exploitation of the possibilities of the red-figure technique. They were active between circa 520 and 500 BCE. Important representatives include Euphronios, Euthymides and Phintias. This group, recognised and defined by twentieth-century scholarship, experimented with the different possibilities offered by the new style. Thus figures appeared in new perspectives, such as frontal or rear views, and there were experiments with perspective foreshortening and more dynamic compositions. As a technical innovation Euphronios introduced the "relief line". At the same time new vase shapes were invented, a development favored by the fact that many of the pioneer group painters were also active as potters.
New shapes include the psykter and the pelike. Large krater and amphorae became popular at this time. Although there is no indication that the painters understood themselves as a group in the way that modern scholarship does, there were some connections and mutual influences, perhaps in an atmosphere of friendly competition and encouragement. Thus a vase by Euthymides is inscribed "as Euphronios never [would have been able]". More generally, the pioneer group tended to use inscriptions. The labelling of mythological figures or the addition of Kalos inscriptions are the rule rather than the exception.[2]
Apart from the vase painters, some bowl painters also used the new style. These include Oltos and Epiktetos. Many of their works were bilingual, often using red-figure only on the interior of the bowl.
Late Archaic
The generation of artists after the pioneers, active during the Late Archaic period (circa 500 to 470 BCE) brought the style to a new flourish. During this time, black-figure vases failed to reach the same quality and were pushed out of the market eventually. Some of the most famous Attic vase painters belong to this generation. They include the Berlin Painter, the Kleophrades Painter, and among the bowl painters Onesimos, Douris, Makron and the Brygos Painter. The improvement of quality went along with a doubling of output during this period. Athens became the dominant producer of fine pottery in the Mediterranean world, overshadowing nearly all other production centers.[3]
One of the key features of this most successful Attic vase painting style is the mastery of perspective foreshortening, allowing a much more naturalistic depiction of figures and actions. Another characteristic is the drastic reduction of figures per vessel, of anatomic details, and of ornamental decorations. In contrast, the repertoire of depicted scenes was increased. For example, the myths surrounding Theseus became very popular at this time. New or modified vase shapes were frequently employed, including the Nolan amphora (see Typology of Greek Vase Shapes), lekythoi, as well as bowls of the askos and dinos types. The specialisation into separate vase and bowl painters increased.[3]
Early and High Classical
The key characteristic of Early Classical figures is that they are often stockier and less dynamic than their predecessors. As a result, the depictions gained seriousness, even pathos. The folds of garments were depicted less linearly, appearing more plastic. The manner of presenting scenes also changed substantially. Firstly, the paintings ceased to focus on the moment of a particular event, but rather, with dramatic tension, showed the situation immediately before the action, implying and contextualising the event proper. Also, some of the other new achievements of Athenian democracy began to show an influence on vase painting. Thus influences of tragedy and of wall painting can be detected. Since Greek wall painting is almost entirely lost today, its reflection on vases constitutes one of the few, albeit modest, sources of information on that genre of art.
Other influences on High Classical vase painting include the newly erected Parthenon and its sculptural decoration. This is especially visible in the depiction of garments; the material now falls more naturally, and more folds are depicted, leading to an increased "depth" of the depiction. The overall compositions were simplified even more. Artists placed special emphasis on symmetry, harmony, and balance. The human figures had returned to their earlier slenderness; they often radiate a self-absorbed, divine serenity.[3]
Important painters of this period, roughly 480 to 425 BCE, include the Providence Painter, Hermonax, and the Achilles Painter, all following the tradition of the Berlin Painter. The Phiale Painter, probably a pupil of the Achilles Painter, is also important. New workshop traditions also developed. Notable examples include the so-called "mannerists", most famously among them the Pan Painter. Another tradition was begun by the Niobid Painter and continued by Polygnotos, the Kleophon Painter, and the Dinos Painter. The role of bowls decreased, although they were still produced in large numbers, e.g. by the workshop of the Penthesilea Painter.[3]
Late Classical
During the Late Classical period, in the final quarter of the 5th century BCE, two opposed trends were created. On the one hand, a style of vase painting strongly influenced by the "Rich Style" of sculpture developed, on the other, some workshops continued the developments of the High Classical period, with an increased emphasis on the depiction of emotion, and a range of erotic scenes. The most important representative of the Rich Style is the Meidias Painter. Characteristic features include transparent garments and multiple folds of cloth. There is also an increase in the depiction of jewelry and other objects. The use of additional colors, mostly white and gold, depicting accessories in a low relief, is very striking. Over time, there is a marked "softening": The male body, heretofore defined by the depiction of muscles, gradually lost that key feature.[3]
The paintings depicted mythological scenes less frequently than before. Images of the private and domestic world became more and more important. Scenes from the life of women are especially frequent. Mythological scenes are dominated by images of Dionysos and Aphrodite. It is not clear what caused this change of topic among some of the artists. Suggestions include a context with the horrors of the Peloponnesian War, but also the loss of Athens' dominant role in the Mediterranean pottery trade (itself partially a result of the war). The increasing role of new markets, e.g. Iberia, implied new needs and wishes on part of the customers. These theories are contradicted by the fact that some artists maintained the earlier style. Some, e.g. the Eretria Painter, attempted to combine both traditions. The best works of the Late Classical period are often found on smaller vessels, such as belly lekythoi, pyxides and oinochai. Lekanis, Bell krater(see Typology of Greek Vase Shapes) and hydria were also popular.[4]
The production of mainstream red-figure pottery ceased around 360 BCE. The Rich and Simple styles both existed until that time. Late representatives include the Meleager Painter (Rich Style) and the Jena Painter (Simple Style).
Kerch Style
The final decades of Attic red—figure vase painting are dominated by the Kerch Style. This style, current between 370 and 330 BCE, combined the preceding Rich and Modest Styles, with a preponderance of the Rich. Crowded compositions with large statuesque figures are typical. The added colors now include blue, green and others. Volume and shading are indicated by the use of diluted runny glossy clay. Occasionally, whole figures are added as appliques, i.e. as thin figural reliefs attached to the body of the vase. The variety of vessel shapes in use was reduced sharply. Common painted shapes include pelike, chalice krater, belly lekythos, skyphos, hydria and oinochoe. Scenes from female life are very common. Mythological themes are still dominated by Dionysos; Ariadne and Heracles are the most commonly depicted heroes. The best-known painter of this style is the Marsyas Painter.[4]
The last Athenian vases with figural depictions were created around 320 BCE at the latest. The style continued somewhat longer, but with non-figural decorations. The last recognised examples are by painters known as the YZ Group.
Artists and works
The Kerameikos was the potters' quarter of Athens. It contained a variety of small workshops, and probably a few larger ones. In 1852 CE, during building activity in Ermou Street, the workshop of the Jena Painter was discovered. The artefacts from it are now on display in the University collection of the Friedrich Schiller University of Jena.[5] According to modern research, the workshops were owned by the potters. The names of about 40 Attic vase painters are known, from vase inscriptions, usually accompanied by the words ἐγραψεν (égrapsen, has painted). In contrast, the signature of the potter, ἐποίησεν (epoíesen, has made) has survived on more than twice as many, namely about 100, pots (both numbers refer to the totality of Attic figural vase painting). Although signatures had been known since c. 580 BCE (first known signature by the potter Sophilos), their use increased to an apex around the Pioneering Phase. A changing, apparently increasingly negative, attitude to artisans led to a reduction of signatures, starting during the Classical period at the latest.[6] Overall, signatures are quite rare. The fact that they are mostly found on especially good pieces indicates that they expressed the pride of potter and/or painter.[7]
The status of painters in relation to that of potters remains somewhat unclear. The fact that, e.g., Euphronius was able to work as both painter and potter suggests that at least some of the painters were not slaves. On the other hand, some of the known names indicate that there were at least some former slaves and some perioikoi among the painters. Additionally, some of the names are not unique: for example, several painters signed as Polygnotos. This may represent attempts to profit from the name of that great painter. The same may be the case where painters bear otherwise famous names, like Aristophanes (vase painter). The careers of some vase painters are quite well known. Apart from painters with relatively short periods of activity (one or two decades), some can be traced for much longer. Examples include Douris, Makron, Hermonax and the Achilles Painter. The fact that several painters later became potters, and the relatively frequent cases where it is unclear whether some potters were also painters or vice versa, suggest a career structure, perhaps starting with an apprenticeship involving mainly painting, and leading up to being a potter.
This division of labor appears to have developed along with the introduction of red-figure painting, since many potter-painters are known from the black-figure period (including Exekias, Nearchos and perhaps the Amasis Painter). The increased demand for exports would have led to new structures of production, encouraging specialisation and division of labor, leading to a sometimes ambiguous distinction between painter and potter. As mentioned above, the painting of vessels was probably mainly the responsibility of younger assistants or apprentices. Some further conclusions regarding the organisational aspects of pottery production can be suggested. It appears that generally, several painters worked for one pottery workshop, as indicated by the fact that frequently, several roughly contemporary pots by the same potter are painted by various painters. For examples, pots made by Euphronios have been found to be painted by Onesimos, Douris, the Antiphon Painter, the Triptolemos Painter and the Pistoxenos Painter. Conversely, an individual painter could also change from one workshop to another. For example, the bowl painter Oltos worked for at least six different potters.[7]
Although from a modern perspective the vase painters are often considered artists, and their vases thus as works of art, this view is not consistent with that held in antiquity. Vase painters, like potters, were considered craftsmen, their produce considered trade goods.[8] The craftsmen must have had a reasonably high level of education, as a variety of inscriptions occur. On the one hand, the aforementioned Kalos inscriptions are common; on the other hand, inscriptions often label the depicted figures. That not every vase painter could write is shown by some examples of meaningless rows of random letters. The vases indicate a steady improvement of literacy from the 6th century BCE onwards.[9] Whether potters, and perhaps vase painters, belonged to the Attic elite has not been satisfactorily clarified so far. Do the frequent depictions of the symposium, a definite upper-class activity, reflect the painters' personal experience, their aspirations to attend such events, or simply the demands of the market?[10] A large proportion of the painted vases produced, such as psykter, krater, kalpis, stamnos, as well as kylikes and kantharoi, were made and bought to be used at symposia.[11]
Elaborately painted vases were good, but not the best, table wares available to a Greek. Metal vessels, especially from precious metals, were held in higher regard. Nonetheless, painted vases were not cheap products; the larger specimens, especially, were expensive. Around 500 BCE, a large painted vase cost about one drachma, equivalent to the daily wage of a stonemason. It has been suggested that the painted vases represent an attempt to imitate metal vessels. It is normally assumed that the lower social classes tended to use simple undecorated coarse wares, massive quantities of which are found in excavations. Tablewares made of perishable materials, like wood, may have been even more widespread.[12] Nonetheless, multiple finds of red-figure vases, usually not of the highest quality, found in settlements, prove that such vessels were used in daily life. A large proportion of production was taken up by cult and grave vessels. In any case, it can be assumed that the production of high-quality pottery was a profitable business. For example, an expensive votive gift by the painter Euphronios was found on the Athenian Acropolis.[13] There can be little doubt that the export of such pottery made an important contribution to the affluence of Athens. It is hardly surprising that many workshops appear to have aimed their production at export markets, for example by producing vessel shapes that were more popular in the target region than in Athens. The 4th century BCE demise of Attic vase painting tellingly coincides with the very period when the Etruscans, probably the main western export market, came under increasing pressure from South Italian Greeks and the Romans. A further reason for the end of the production of figurally decorated vases is a change in tastes at the start of the Hellenistic period. The main reason, however, should be seen in the increasingly unsuccessful progress of the Peloponnesian War, culminating in the devastating defeat of Athens in 404 BCE. After this, Sparta controlled the western trade, albeit without having the economic strength to fully exploit it. The Attic potters had to find new markets; they did so in the Black Sea area. But Athens and its industries never fully recovered from the defeat. Some potters and painters had already relocated to Italy during the war, seeking better economic conditions. A key indicator for the export-oriented nature of Attic vase production is the nearly total absence of theatre scenes. Buyers from other cultural backgrounds, such as Etruscans or later customers in the Iberian Peninsula, would have found such depiction incomprehensible or uninteresting. In Southern Italian vase painting, which was mostly not aimed at export, such scenes are quite common.[14]
Southern Italy
At least from a modern point of view, the Southern Italian red-figure vase paintings represent the only region of production that reaches Attic standards of artistic quality. After the Attic vases, the South Italian ones (including those from Sicily), are the most thoroughly researched. In contrastic to their Attic counterparts, they were mostly produced for local markets. Only few pieces have been found outside Southern Italy and Sicily. The first workshops were founded in the mid-5th century BC by Attic potters. Soon, local craftsmen were trained and the thematic and formal dependence on Attic vases overcome. Towards the end of the century, the distinctive "ornate style" and "plain style" developed in Apulia. Especially the ornate style was adopted by other mainland schools, but without reaching the same quality.[15]
By now, 21,000 South Italian vases and fragments are known. Of those, 11,000 are ascribed to Apulian workshops, 4,000 to Campanian, 2,000 to Paestan, 1,500 to Lucanian and 1,000 to Sicilian ones.[16]
The Apulian vase painting tradition is considered as the leading South Italian style. The main centre of production was at Taras. Apulian red-figure vases were produced from circa 430 to 300 BC. The plain and ornate styles are distinguished. The main difference between them is that the plain style favoured bell craters, column kraters and smaller vessels, and that a single "plain" vessel rarely depicted more than four figures. The main subjects were mythological scenes, female heads, warriors in scenes of combat of farewell, and dionysiac thiasos imagery. The reverse often showed youths wearing cloaks. The key feature of these simply decorated wares is the general absence of additional colours. Important plain style representatives are the Sisyphus Painter and the Tarporley Painter. After the mid-4th century BC, the style grows more and more similar to the ornate style. An important artist of that period is the Varrese Painter.[17]
The artists using the ornate style tended to favour large vessels, like volute kraters, amphorae, loutrophoroi and hydriai. The larger surface area was used to depict up to 20 figures, often in several registers on the body of the vase. Additional colours, especially shades of red, yellow-gold and white are used copiously. Since the 2nd half of the 4th century, the necks and sides of the vases are decorated with rich vegetal or ornamental decorations. At the same time, perspective views, especially of buildings such as "Palace of Hades" (naiskoi), develop. Since 360 BC, such structures are often depicted in scenes connected with burial rites (naiskos vases). Important representatives of this style are the Ilioupersis Painter, the Darius Painter and the Baltimore Painter. Mythological scenes were especially popular: The assembly of the Gods, the amazonomachy, the Trojan War, Heracles and Bellerophon. Additionally, such vases frequently depict scenes from myths that are only rarely illustrated on vases. Some specimens represent the single source for the iconography of a particular myth. Another subject that is unknown from Attic vase painting are the theatre scenes. Especially farce scenes, e.g. from the so-called phlyax vases are quite common. Scenes of athletic activity or everyday life only occur in the early phase, they disappear entirely after 370 BC.[18]
Apulian vase painting had a formative influence on the traditions of the other South Italian production centres. It is assumed that individual Apulian artists settled in other Italian cities and contributed their skills there. Apart from red-figure, Apulia also produced black-varnished vases with painted decor (Gnathia vases) and polychrome vases (Canosa vases).[19]
Campania also produced red-figure vases in the 5th and 4th centuries BC. The light brown clay of Campania was covered with a slip that developed a pink or red tint after firing. The Campanian painters preferred smaller vessel types, but also hydriai and bell kraters. The most popular shape is the bow-handled amphora. Many typical Apulian vessel shapes, like volute kraters, column kraters, loutrophoroi, rhyta and nestoris amphorae are absent, pelikes are rare. The repertoire of motifs is limited. Subjects include youths, women, thiasos scenes, birds and animals, and often native warriors. The backs often show cloaked youths. Mythological scenes and depictions related to burial rites play a subsidiary role. Naiskos scenes, ornamental elements and polychromy are adopted after 340 BC under Lucanian influence.[20]
Before the immigration of Sicilian potters in the second quarter of the 4th century BC, when several workshops were established in Campania, only the Owl-Pillar Workshop of the second half of the 5th century is known. Campanian vase painting is subdivided in three main groups:
The first group is represented by the Kassandra Painter from Capua, still under Sicilian influence. He was followed by the workshop of the Parrish Painter and that of the Laghetto Painter and the Caivano Painter. Their work is characterised by a preference for satyr figures with thyrsos, depictions of heads (normally below the handles of hydriai), decorative borders of garments, and the frequent use of additional white, red and yellow. The Laghetto and Caivano Painters appear to have moved to Paestum later.[21]
The AV Group also had its workshop in Capua. Of particular importance is the Whiteface-Frignano Painter, one of the first in this group. His typical characteristic is the use of additional white paint to depict the faces of women. This group favoured domestic scenes, women and warriors. Multiple figures are rare, usually there is only one figure each on the front and back of the vase, sometimes only the head. Garments are usually drawn casually.[22]
After 350 BC, the CA Painter and his successors worked in Cumae. The CA painter is considered as the outstanding artist of his group, or even of Campanian vase painting as a whole. From 330 onwards, a strong Apulian influence is visible. The most common motifs are naiskos and grave scenes, dionysiac scenes and symposia. Depictions of bejewelled female heads are also common. The CA painter was polychrome but tended to use much white for architecture and female figures. His successors were not fully able to maintain his quality, leading to a rapid demise, terminating with the end of Campanian vase painting around 300 BC.[22]
The Lucanian vase painting tradition began around 430 BC, with the works of the Pisticci Painter. He was probably active in Pisticci, where some of his works were discovered. He was strongly influenced by Attic tradition. His successors, the Amycus Painter and the Cyclops Painter had a workshop in Metapontum. They were the first to paint the new nestoris (see Typology of Greek Vase Shapes) vase type. Mythical or theatrical scenes are common. For example, the Cheophoroi painter, named after the Cheophoroi by Aeschylos showed scenes from the tragedy in question on several of his vases. The influence of Apulian vase painting becomes tangible roughly at the same time. Especially polychromy and vegetal decor became standard. Important representatives of this style include the Dolon Painter and the Brooklyn-Budapest Painter. Towards the mid-4th century BC, a massive drop in quality and thematic variety becomes notable. The last notable Lucanian vase painter was the Primato Painter, strongly influenced by the Apulian Lycourgos Painter. After him, a short rapid demise is followed by the cessation of Lucanian vase painting at the start of the last quarter of the 4th century BC.[23]
The Paestan vase painting style developed as the last of the South Italian styles. It was founded by Sicilian immigrants around 360 BC. the first workshop was controlled by Asteas and Python. They are the only South Italian vase painters known from inscriptions. They mainly painted bell kraters, neck amphorae, hydriai, lebes gamikos, lekanes, lekythoi and jugs, more rarely pelikes, chalice kraters and volute kraters. Characteristics include decorations such as lateral palmettes, a pattern of tendrils with calyx and umbel known as "asteas flower", crenelation-like patterns on garments and curly hair hanging over the back of figures. Figures that bend forwards, resting on plants or rocks, are equally common. Special colours are used often, especially white, gold, black, purple and shades of red.[24]
The themes depicted often belong to the Dionysiac cycle: thiasos and symposium scenes, satyrs, maenads, Silenos, Orestes, Electra, the gods Aphrodite and Eros, Apollo, Athena and Hermes. Paestan painting rarely depicts domestic scenes, but favours animals. Asteas and Python had a major influence on the vase painting of Paestum. This is clearly visible in the work of the Aphrodite Painter, who probably immigrated from Apulia. Around 330 BC, a second workshop developed, originally following the work of the first. The quality of its painting and variety of its motifs deteriorated quickly. At the same time, an influence by the Campanian Caivano Painter becomes notable, garments falling in a linear fashion and contourless female figures followed. Around 300 BC, Paestan vase painting came to a halt.[25]
The production of Sicilian vase painting began before the end of the 5th century BC, in the poleis of Himera and Syracusae. In terms of style, themes, ornamentation and vase shapes, the workshops were strongly influenced by the Attic tradition, especially by the Late Classical Meidias Painter. In the second quarter of the 4th century, Sicilian vase painters emigrated to Campania and Paestum, where they introduced red-figure vase painting. Only Syracusae retained a limited production.[26]
The typical Sicilian style only developed around 340 BC. Three groups of workshops can be distinguished. The first, known as the Lentini-Manfria Group, was active in Syracusae and Gela, a second, making Centuripe Ware around Mt. Aetna, and a third on Lipari. The most typical feature of Sicilian vase painting is the use of additional colours, especially white. In the early phase, large vessels like chalice kraters and hydriai were painted, but smaller vessels like flasks, lekanes, lekythoi and skyphoid pyxides are more typical. The most common motifs are scenes from female life, erotes, female heads and phlyax scenes. Mythological scenes are rare. Like in all other areas, vase painting disappears from Sicily around 300 BC.[26]
Etruria and other regions
In contrast to black-figure vase painting, red-figure vase painting developed few regional traditions, workshops or "schools" outside Attica and Southern Italy. The few exceptions include some workshops in Boeotia (Painter of the Great Athens Kantharos), Chalkidike, Elis, Eretria, Corinth and Laconia.
Only Etruria, one of the main export markets for Attic vases, developed its own schools and workshops, eventually exporting its own products. The adoption of red-figure painting, imitating Athenian vases, occurred only after 490 BC, half a century after the style had been developed. Because of the technique used, the earliest examples are known as pseudo-red-figure vase paintings. The true red-figure technique was introduced much later, near the end of the 5th century BC. Several painters, workshops and production centres are known for both styles. Their products were not only used locally, but also exported to Malta, Carthage, Rome and Liguria.
Pseudo-red-figure vase painting
The early Etrurian examples merely imitated the red-figure technique. Similar to a rare and early Attic technique (see Six's technique), the whole vessel was covered with black glossy clay and figures were applied afterwards using mineral colours that would oxidise red or white. Thus, in contrast to contemporary Attic vase painting, the red colour was not achieved by leaving areas unpainted but by adding paint to the black prime layer. Like in black-figure vases, internal detail was not painted on, but incised into the figures. Important representatives of this style include the Praxias Painter and other masters from his workshop in Vulci. In spite of their evident good knowledge of Greek myth and iconography, there is no evidence to indicate that these painters had immigrated from Attica. An exception to this may be the Praxia Painter, as Greek inscription on four of his vases may indicate that he originated from Greece.[27]
In Etruria, the pseudo-red-figure style was not just a phenomenon of the earliest phases, as it had been in Attica. Especially during the 4th century, some workshops specialised in this technique, although true red-figure painting was widespread among Etrurian workshops at the same time. Notable workshops include the Sokra Group and the Phantom Group. The Sokra Group, somewhat older, preferred bowls with interior decoration of Greek mythical themes, but also some Etruscan motifs. The phantom Group mainly painted cloaked figures combined with vegetal or palmette ornamentation. The workshops of both groups are suspected to have been in Caere, Falerii and Tarquinia. The Phantom Group produced until the early 3rd century BC. Like elsewhere, the changing tastes of the customers eventually led to the end of this style.[28]
Red-figure vase painting
True red figure vase painting, i.e. vases where the red areas have been left unpainted, was introduced to Etruria near the end of the 5th century BC. The first workshops developed in Vulci and Falerii and produced also for the surrounding areas. It is likely that Attic masters were behind these early workshops, but a South Italian influence is evident, too. These workshops dominated the Etruscan market into the 4th century BC. Large and medium-sized vessels like kraters and jugs were decorated mostly with mythological scenes. In the course of the 4th century, the Falerian production began to eclipse that of Vulci. New centres of production developed in Chiusi and Orvieto. Especially the Tondo Group of Chiusi, producing mainly drinking vessels with interior depictions of dionysiac scenes, became important. During the second half of the century, Volterra became a main centre. Here, especially rod-handled kraters were produced and, especially in the early phases, painted elaborately.
During the 2nd half of the 4th century BC, mythological themes disappeared from the repertoire of Etruscan painters. They were replaced by female heads and scenes of up to two figures. Instead of figural depictions, ornaments and floral motifs covered the vessel bodies. Large figural compositions, like that on a krater by the Den Haag Funnel Group Painter were only produced exceptionally. The originally large-scale production at Falerii lost its dominant role to the production centre at Caere, which had probably been founded by Falerian painters and cannot be said to represent a distinct tradition. The standard repertoire of the Caere workshops included simply painted oinochoai, lekythoi and drinking bowls of the Torcop Group, and plates of the Genucuilia Group. The switch to the production of black glaze vases near the end of the 4th century, probably as a reaction to changing tastes of the time, spelt the end of Etrurian red-figure vase painting.[29]
Research and reception
About 65,000 red-figure vases and vase fragments are known to have survived.[lower-alpha 3] The study of ancient pottery and of Greek vase painting began already in the Middle Ages. Restoro d'Arezzo dedicated a chapter (Capitolo de le vasa antiche) of his description of the world to ancient vases. He considered especially the clay vessels as perfect in terms of shape, colour, and artistic style.[30] Nevertheless, initially the attention focused on vases in general, and perhaps especially on stone vases. The first collections of ancient vases, including some painted vessels, developed during the Renaissance. We even know of some imports from Greece to Italy at that time. Still, until the end of the Baroque period, vase painting was overshadowed by other genres, especially by sculpture. A rare pre-Classicist exception is a book of watercolours depicting figural vases, which was produced for Nicolas-Claude Fabri de Peiresc. Like some of his contemporary collectors, Peiresc owned a number of clay vases.[31]
Since the period of Classicism, ceramic vessels were collected more frequently. For example, Sir William Hamilton[lower-alpha 4] and Giuseppe Valletta had vase collections. Vases found in Italy were relatively affordable, so that even private individuals could assemble important collections. Vases were a popular souvenir for young Northwestern Europeans to bring home from the Grand Tour. In the diaries of his voyage to Italy,[lower-alpha 5] Goethe refers to the temptation of buying ancient vases. Those who could not afford originals had the option of acquiring copies or prints. There were even manufactories specialised in imitating ancient pottery. The best known is Wedgwood ware, although it employed techniques entirely unrelated to those used in antiquity, using ancient motifs merely as a thematic inspiration.[32]
Since the 1760s, archaeological research also began to focus on vase paintings. The vases were appreciated as source material for all aspects of ancient life, especially for iconographical and mythological studies. Vase painting was now treated as a substitute for the almost entirely lost oeuvre of Greek monumental painting. Around this time, the widespread view that all painted vases were Etruscan works became untenable. Nonetheless, the artistic fashion of that time to imitate ancient vases came to be called all'etrusque. England and France tried to outdo each other in terms of both research and imitation of vases. The German aesthetic writers Johann Heinrich Müntz and Johann Joachim Winckelmann studied vase paintings. Winckelmann especially praised the Umrißlinienstil ("outline style", i.e. red-figure painting). Vase ornaments were compiled and disseminated in England through Pattern books.[33]
Vase paintings even had an influence on the development of modern painting. The linear style influenced artists such as Edward Burne-Jones, Gustave Moreau or Gustav Klimt. Around 1840, Ferdinand Georg Waldmüller painted a Still Life with Silver Vessels and Red-Figure Bell Krater. Henri Matisse produced a similar painting (Intérieur au vase étrusque). Their aesthetic influence extends into the present. For example, the well-known curved shape of the Coca-Cola bottle is inspired by Greek vases.[34]
The scientific study of Attic vase paintings was advanced especially by John D. Beazley. Beazley began to study the vases from about 1910 onwards, inspired by the methodology that the art historian Giovanni Morelli had developed for the study of paintings. He assumed that each painter produced individual works that can always be unmistakably ascribed. To do so, particular details, such as faces, fingers, arms, legs, knees, garment folds and so on, were compared. Beazley examined 65,000 vases and fragments (of which 20,000 were black-figure). In the course of six decades of study, he was able to ascribe 17,000 of them to individual artists. Where their names remained unknown, he developed a system of conventional names. Beazley also united and combined individual painters into groups, workshops, schools and styles. No other archaeologist has ever had as formative an influence on a whole subdiscipline as had Beazley on the study of Greek vase painting. A large proportion of his analysis is still considered valid today. Beazley first published his conclusions on red-figure vase painting in 1925 and 1942. His initial studies only considered material from before the 4th century BC. For a new edition of his work published in 1963, he also incorporated that later period, making use of the work of other scholars, such as Karl Schefold, who had especially studied the Kerch Style vases. Famous scholars who continued the study of Attic red-figure after Beazley include John Boardman, Erika Simon and Dietrich von Bothmer.[35]
For the study of South Italian case painting, Arthur Dale Trendall's work has a similar significance to that of Beazley for Attica. Most post-Beazley scholars can be said to follow Beazley's tradition and use his methodology.[lower-alpha 6] The study of Greek vases is ongoing, not least because of the constant addition of new material from archaeological excavations, illicit excavations and unknown private collections.
See also
- Ancient Greek art
- List of Greek vase painters
- See also Liste der Formen, Typen und Varianten der antiken griechischen Fein- und Gebrauchskeramik in the German Wikipedia for a useful set of tables classifying vase shapes and variations, with distinguishing shape outlines and typical examples, also Typology of Greek vase shapes.
Notes, references and sources
- John Boardman: The History of Greek Vases, London 2001, p. 286. The hollow needle, or syringe, was proposed by Noble (1965). First publication of the hair method by Gérard Seiterle: Die Zeichentechnik in der rotfigurigen Vasenmalerei. Das Rätsel der Relieflinien. In: Antike Welt 2/1976, S. 2–9.
- Joseph Veach Noble: The Techniques of Painted Attic Pottery. New York 1965. The Process was first rediscovered and published by Theodor Schumann: Oberflächenverzierung in der antiken Töpferkunst. Terra sigillata und griechische Schwarzrotmalerei. In: Berichte der deutschen keramischen Gesellschaft 32 (1942), S. 408–426. More references in Noble (1965).
- Balbina Bäbler, in DNP 15/3 (Zeitrechnung: I. Klassische Archäologie, Sp. 1164) refers to 65.000 vases having been examined by Beazley. From that number, about 20.000 must be subtracted, since they were black-figure (Boardman: Schwarzfigurige Vasen aus Athen, S. 7). 21.000 red-figure vases are known from Southern Italy. Additionally, there are some examples from other parts of Greece
- Hamilton's first collection of "Etruscan" vases was lost at sea but memorialized in engravings; he formed a second collection that is conserved in the British museum.
- 9. März 1787
- The principal exceptions being David Gill and Michael Vickers who repudiate the significance of vase painting as an art form and reject the analogy of Renaissance artists' studios and the ancient Greek pottery workshop,[36] a view criticized by R.M. Cook.[37] Additionally James Whitley and Herbert Hoffmann have criticised Beazley's approach as being unduly "positivist" in that it concentrates exclusively on aspects of connoisseurship at the cost of ignoring the larger social and cultural context that might have influenced the practice of vase painting.[38][39]
- John Boardman: Athenian Red Figure Vases: The Archaic Period,1975, p. 15-16
- John H. Oakley: Rotfigurige Vasenmalerei, in: DNP 10 (2001), col. 1141
- Oakley: Rotfigurige Vasenmalerei, in: DNP 10 (2001), col. 1142
- Oakley: Rotfigurige Vasenmalerei, in: DNP 10 (2001), col. 1143
- Der Jenaer Maler, Reichert, Wiesbaden 1996, p. 3
- Ingeborg Scheibler: Vasenmaler, in: DNP 12/I, Sp. 1148
- Ingeborg Scheibler: Vasenmaler, in: DNP 12/I, col. 1147f.
- Boardman: Athenian Red Figure Vases: The Classical Period,1989, p. 234
- Ingeborg Scheibler: Vasenmaler, in: DNP 12/I, col. 1148
- Boardman: Schwarzfigurige Vasenmalerei, p. 13; Martine Denoyelle: Euphronios. Vasenmaler und Töpfer, Berlin 1991, p. 17
- see Alfred Schäfer: Unterhaltung beim griechischen Symposion. Darbietungen, Spiele und Wettkämpfe von homerischer bis in spätklassische Zeit, von Zabern, Mainz 1997
- Boardman: Athenian Red Figure Vases: The Classical Period,1989 p. 237.
- Boardman: Athenian Black Figure Vases,1991, p. 12
- Boardman: Athenian Red Figure Vases: The Classical Period,1987, p. 222
- Rolf Hurschmann: Unteritalische Vasenmalerei, in: DNP 12/1 (2002), col. 1009–1011
- Hurschmann: Unteritalische Vasenmalerei, in: DNP 12/1 (2002), col. 1010 and Trendall p. 9, with slightly differing numbers.
- Hurschmann: Apulische Vasen, in: DNP 1 (1996), col. 922f.
- Hurschmann: Apulische Vasen, in: DNP 1 (1996), col. 923
- Hurschmann in: DNP 1 (1996), col. 923
- Hurschmann: Kampanische Vasenmalerei, in: DNP 6 (1998), col. 227
- Hurschmann: Kampanische Vasenmalerei, in: DNP 6 (1998), col. 227f
- Hurschmann: Kampanische Vasenmalerei, in: DNP 6 (1998), col. 228
- Hurschmann: Lukanische Vasen, in: DNP 7 (1999), col. 491
- Hurschmann: Paestanische Vasen, in: DNP 9 (2000), col. 142
- Hurschmann: Paestanische Vasen, in: DNP 9 (2000), col. 142f.
- Hurschmann: Sizilische Vasen, in: DNP 11 (2001), col. 606
- Reinhard Lullies in Antike Kunstwerke aus der Sammlung Ludwig. Vol 1. Frühe Tonsarkophage und Vasen, von Zabern, Mainz 1979, p. 178–181 ISBN 3-8053-0439-0.
- Huberta Heres – Max Kunze (Hrsg.): Die Welt der Etrusker, Archäologische Denkmäler aus Museen der sozialistischen Länder. Exhibition catalogue Staatliche Museen zu Berlin, Hauptstadt der DDR – Altes Museum vom 04. Oktober bis 30. Dezember 1988. Berlin 1988, p. 245-249
- Huberta Heres – Max Kunze (Hrsg.): Die Welt der Etrusker, Archäologische Denkmäler aus Museen der sozialistischen Länder. Exhibition catalogue Staatliche Museen zu Berlin, Hauptstadt der DDR – Altes Museum vom 04. Oktober bis 30. Dezember 1988. Berlin 1988, p. 249-263
- Sabine Naumer: Vasen/Vasenmalerei, in DNP 15/3, col. 946
- Sabine Naumer: Vasen/Vasenmalerei, in DNP 15/3, col. 947-949
- Sabine Naumer: Vasen/Vasenmalerei, in DNP 15/3, col. 949-950
- Sabine Naumer: Vasen/Vasenmalerei, in DNP 15/3, col. 951-954
- Sabine Naumer: Vasen/Vasenmalerei, in DNP 15/3, col. 954
- John Boardman: Schwarzfigurige Vasen aus Athen, p. 7f.
- Vickers, Michael; Gill, David (1994). Artful Crafts: Ancient Greek silverware and pottery. Oxford; New York: Clarendon Press, Oxford University Press. OCLC 708421572.
- Cook, R.M. (1987). "'Artful crafts': A commentary". Journal of Hellenic Studies. Oxford: Cambridge University Press. 107: 169–171. doi:10.2307/630079. JSTOR 630079.
- Whitley, James (1998). "Beazley as theorist". Antiquity. Antiquity Publications Ltd. 73 (271): 40–47. doi:10.1017/S0003598X00084520.
- Hoffmann, Herbert (1979). Fehr, Burkhard; Meyer, Klaus-Heinrich; Schalles, Hans-Joachim; Schneider, Lambert (eds.). "In the wake of Beazley: Prolegomena to an Anthropological Study of Greek Vase-Painting" (PDF). Hephaistos. Archäologisches Institut, University of Hamburg. 1: 61–70. Archived from the original (PDF) on 28 June 2021. Retrieved 28 June 2021.
- Beazley, John Davidson (1963) [1946]. Attic Red-figure vase-painters (2nd ed.). Oxford: Clarendon Press. OCLC 419228649.
- Boardman, John (1994) [1981]. Rotfigurige Vasen aus Athen: die archaische Zeit: ein Handbuch [Red-figure vases from Athens: the archaic times: a handbook]. Kulturgeschichte der antiken Welt (in German). Vol. 4 (4th ed.). Mainz: von Zabern. ISBN 3805302347.
- Boardman, John (1991) [1981]. Rotfigurige Vasen aus Athen: die archaische Zeit: ein Handbuch [Red-figure vases from Athens: the archaic times: a handbook]. Kulturgeschichte der antiken Welt (in German). Vol. 4 (2nd ed.). Mainz: von Zabern. ISBN 3805312628.
- Fless, Friederike (2002). Rotfigurige Keramik als Handelsware: Erwerb und Gebrauch attischer Vasen im mediterranen und pontischen Raum während des 4. Jhs. v. Chr [Red-figure pottery as a commodity: Acquisition and use of attic vases in the mediterranean and pontic region during the 4th century BC]. Internationale Archäologie (in German). Vol. 71. Rahden: Leidorf. ISBN 3896463438.
- Giuliani, Luca (1995). Tragik, Trauer und Trost: Bildervasen für eine apulische Totenfeier [Tragic, grief and consolation: Vase images for an apulian funeral feast] (in German). Berlin: Staatliche Museen. OCLC 878870139.
- Rolf Hurschmann: Apulische Vasen, in: DNP 1 (1996), col. 922 f.; Kampanische Vasenmalerei, in: DNP 6 (1998), col. 227 f.; Lukanische Vasen, in: DNP 7 (1999), col. 491; Paestanische Vasen, in: DNP 9 (2000), col. 142/43; Sizilische Vasen, in: DNP 11 (2001), col. 606; Unteritalische Vasenmalerei, in: DNP 12/1 (2002), col. 1009–1011
- Mannack, Thomas (2002). Griechische Vasenmalerei [Greek vase painting] (in German) (Wissenschaftliche Buchgesellschaft ed.). Stuttgart; Darmstadt: Theiss. ISBN 3806217432.
- Sabine Naumer: Vasen/Vasenmalerei, in DNP 15/3, col. 946-958
- John H. Oakley: Rotfigurige Vasenmalerei, in: DNP 10 (2001), col. 1141–43
- Reusser, Christoph (2002). Vasen für Etrurien: Verbreitung und Funktionen attischer Keramik im Etrurien des 6. und 5. Jahrhunderts vor Christus [Vases for Etruria: Proliferation and function of Attic ceramics in 6th and 5th century BC Etruria] (habilitation thesis). Akanthus crescens (in German). Vol. 5:1. Zürich: Akanthus. ISBN 3905083175.
- Scheibler, Ingeborg (1995). Griechische Töpferkunst. Herstellung, Handel und Gebrauch der antiken Tongefäße [Greek pottery. Production, trade and use of antique clay vessels] (in German) (2nd ed.). Munich: Beck. ISBN 9783406393075.
- Ingeborg Scheibler: Vasenmaler, in: DNP 12/I (2002), col. 1147f.
- Simon, Erika; Hirmer, Max (1981). Die griechischen Vasen [The Greek vases] (in German) (2nd ed.). Munich: Hirmer. ISBN 3777433101.
- Trendall, Arthur Dale (1991). Rotfigurige Vasen aus Unteritalien und Sizilien: Ein Handbuch [Red-figure vases from Lower Italy and Sicily: A handbook]. Kulturgeschichte der Antiken Welt (in German). Vol. 47. Mainz: P. von Zabern. ISBN 3805311117.
Library resources about Red-figure pottery |
Further reading
- Boardman, John. 2001. The History of Greek Vases: Potters, Painters, Pictures. New York: Thames & Hudson.
- Bouzek, Jan. 1990. Studies of Greek Pottery In the Black Sea Area. Prague: Charles University.
- Cook, Robert Manuel, and Pierre Dupont. 1998. East Greek Pottery. London: Routledge.
- Farnsworth, Marie. 1964. "Greek Pottery: A Mineralogical Study." American Journal of Archaeology 68 (3): 221–28.
- Sparkes, Brian A. 1996. The Red and the Black: Studies In Greek Pottery. London: Routledge.
- Von Bothmer, Dietrich (1987). Greek vase painting. New York: The Metropolitan Museum of Art. ISBN 0-87099-084-5.
External links
- The Beazley archive – searchable archive of Attic vase paintings
- The Trendall archive – South Italian vase paintings


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