The Attic Black Figure Ovoid Neck Amphora Essay

The Attic Black Figure Ovoid Neck Amphora Essay

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The Attic Black-Figure Ovoid Neck-Amphora is a pottery piece that one does not know a lot about. It was produced sometime between 600 to 400 B.C., and is now housed at the Joslyn Art Museum in Omaha, Nebraska. It was used to hold liquids and was often a source of trade for the Greek potters. In this paper, one will learn how the pottery was made, what the designs on the vase mean, history, and about the culture of the Greeks.
The first step in understanding the Attic Black-Figure Ovoid Neck-Amphora and other black figure pottery is to understand how the pottery is made. The artist started by digging a place in the ground to hold water in. After the large hole was filled by water, he would throw in a large amount of dry clay into the water. Then he would wait for the sun to evaporate the water leaving water pliable clay. The next step was to compact the clay and squeeze out and extra water. He would do this similarly to crushing grapes to get out the juice by stepping and walking on it. After this process, the clay would be ready to a make the vase.
When he begins to make a vase, he starts by putting a slab of clay on the potter’s wheel. While the wheel spins, the vase creator would wet his hands to make shape. Then, he would divide it into several parts and fasten them with a little bit of water. The vase would stand about fifteen inches tall. After all the parts were assembled together, one would paint the design onto the sides of the vase. Usually showing Greek mythology scenes or his pictures from his life. Then, he would add the glaze. The vase itself would appear to be about the same color as the glaze. The final step was to fire the vase. This meant to harden the vase. It had to be done five times to achieve the end pro...


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... artfully made building.
The outside of the building was adorned with an assortment of Native American artwork. The sculpture outside of the was formed by Serbian Birth. The architects firmly placed the building in the Great Plains by utilizing Indian themes, most notably the abstracted thunderbird, or eagle, symbol found on the capitals of the east entrance columns and throughout the interior (Joslyn 2). The carvings on the east side of the building were from white settlements. While on the west side of the building was remain of the Native Americans. There are a few sculptures on the entrance of the south, north and west doors. They were a tribute to the pairs that settled the great plains they were about: Red Man of the Plains and Red Woman of the Plains, The Prospector and Tiller of the Soil, and the Spanish Conquistador and the Christian Scout
(Joslyn 2).





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