Greek vase-painting is one of the best studied areas of classical antiquity. Figure decorated pottery, often called “vases,” was produced in large quantities in many regions of the ancient Greek world. Although decorated pottery had been made in Greece since prehistoric times, the field of Greek vase-painting is a branch of classical archaeology which focuses on vessels produced between the late Geometric and late classical/early Hellenistic periods (8th–3rd century bce). Early modern connoisseurs and collectors during the 18th century were attracted to Greek vases coming out of tombs in Italy, often mistakenly considering them to be Etruscan rather than Greek. Formal study of vases began during the late 19th century, but it was throughout the 20th that the sub-discipline truly gained momentum. Through the efforts of J. D. Beazley (b. 1885–d. 1970), a professor at Oxford University, the black- and red-figure vases of Athens (also termed “Attic”) which survive in enormous quantities were categorized according to painter and published in his magisterial lists (Attic Black-Figure Vase-Painters, 1956; Attic Red-Figure Vase-Painters, 1963; see Beazley 1956 and Beazley 1963 under Connoisseurship and Attribution). Beazley concentrated on attributing unsigned works, and his attributions remain for many scholars an important framework for the study of Greek vases. A. D. Trendall (b. 1909–d. 1995) created a similar typology for the Greek vase-painters of South Italy and Sicily. Also foundational is the Corpus Vasorum Antiquorum, launched by the Louvre in 1922 (see under Digital and Special Resources), which provides illustrated catalogues of Greek vases from museum collections, and also continues to feature vital information about individual vessels. Since the death of Beazley, research on Greek vase-painting has evolved greatly. The 1980s and 1990s saw increased attention to vase iconography, including studies of both myth and everyday life. At the same time, there emerged an updated series of regional studies for vases made outside of Athens, including those of Corinth, Boeotia, Laconia, East Greece, and western Greece. These studies too have focused to an extent on painter attribution, production, and distribution, while important developments in archaeological science have greatly benefited our understanding of local fabrics and techniques. In recent decades, scholarship has shifted toward contextual studies that emphasize social, historical, and religious functions and meanings of vases and their images. At present, there is an interest in the role of archaeological context and how it may have impacted the choices of both artist and consumer.
