Papers by Cornelis W. Neeft
R. Morais et alii, Greek Vases in Portugal II, 2022
Unlike the Lush Lotus Workshop (the other leading workshop of flat-bottomed aryballoi at the time... more Unlike the Lush Lotus Workshop (the other leading workshop of flat-bottomed aryballoi at the time), the Otterlo Workshop did not confine itself to florals and felines, but endeavoured in asuprising range of unusual subjects well. The protagonist here was the Wieler Painter, espedaLly in his mature oeuvre. The Lisbon aryballos, attributabLe to this painter, happens to shed Light on his formative stages, when humans are still rare. The Wieler Painter's rendering of human creatures, at first mainly fantasy ones (CorVP: 661), is very similar to the Otterlo Painter's practice, the only difference being in their eyes consisting in single circles, except for the Würzburg item (no. 16), probably due to its larger scale, and for the sphynx to right on the Antwerp piece (no. 11, Fig. 2left). a s As with the Otterlo Painter's works, the nostrils are rendered with both asmall vertical curl and ahook at first (nos. 2, 4, 7-9. 11-12, Figs. l:a, e, 2). In his late works (nos. 13-22), the nostrils loose their curly character due to the upper sides being horizontally prolonged, probably so underthe influence of the Borgia Painter's type. The hair at first has deep scallops (nos. 2, 4, 5, 9-10 [both right], 11-12, and the elaborate 16, 19. Figs. l;a, e, 2)-even a 'reversed wave' pattern on the heads to right of nos. 9(left)-10-the scallops soon loosing their depths (nos. 8-9 [both centre] 15 17-18). On the foreheads, abig, 'gelled' curl occurs at first (nos. 2, 4, 9sides, Figs. l:a, e. 3, and. in aflame-like miniature version' 11. Fig. 2), an encircled curl later on (nos. 9centre [Fig. 3], 10, 11 left [Fig. 2], 16, 21); afterwards, the curl dwindles into asimpler and generally sloppy, angular version (nos. 11 right [Fig, 2], 15, 17-18, 20). Also as with the Otterlo Painter's products, there idifferentiation as regards the ears of human heads to right and to left, each type having its proper development over time:
Athéniens et Étrusques à l'époque archaïque, le temps du récit-Nikosthénès, Théozotos et les autr... more Athéniens et Étrusques à l'époque archaïque, le temps du récit-Nikosthénès, Théozotos et les autres. .. Chiara Pizzirani Viaggi di immagini. Riflessioni sulla ricezione e appropriazione di schemi iconografici tra Grecia ed Etruria. .
Much to my profound dismay, the printing process has rendered the photographic illustrations in t... more Much to my profound dismay, the printing process has rendered the photographic illustrations in the catalogue virtually illegible. Therefore, to properly serve scolarship, I have presented the original version of the catalogue, together with a few other relevant entries, as a separate entity here.
Riassunto. I prodotti dello Scale-Pattern Workshop rientrano tra le elaborazioni più caratteristi... more Riassunto. I prodotti dello Scale-Pattern Workshop rientrano tra le elaborazioni più caratteristiche del Corinzio Medio. Facilmente identificabile sulla base delle fasce decorate a squame, che riducono l'altezza del fregio figurato, e dei riempitivi a squame, questa bottega era stata già identificata da Payne nel suo magistrale volume Necrocorinthia. Successive ricerche si sono concentrate sulle attribuzioni ai due pittori principali, lo Scale e l'Hermitage Painter, ma nessuna attenzione è stata prestata alla periodizzazione. Questo contributo si propone di colmare tale lacuna per questi due pittori, presentando al tempo stesso alcuni artigiani a questi molto vicini che operavano nella stessa bottega. Περίληψη. Τα προϊόντα του Scale-Pattern Workshop εντάσσονται ανάμεσα στις πιο χαρακτηριστικές επεξεργασίες της Μέσης Κορινθιακής εποχής. Όντας εύκολης ταύτισης με βάση τις διακοσμημένες με φολίδες ταινίες που μειώνουν το ύψος της ζωφόρου και τα φολιδωτά παραπληρωματικά στοιχεία, το συγκεκριμένο εργαστήριο είχε ήδη ταυτιστεί από τον Payne στον αριστοτεχνικό τόμο του Necrocorinthia. Μεταγενέστερες έρευνες επικεντρώθηκαν στην απόδοσή τους σε δύο κύριους ζωγράφους, τον Scale Painter και τον Hermitage Painter, αλλά καμιά προσοχή δεν δόθηκε για τις περιόδους. Το άρθρο αυτό προτίθεται να καλύψει το κενό σχετικά με αυτούς τους δύο ζωγράφους, παρουσιάζοντας συγχρόνως κάποιους τεχνίτες που ήταν πολύ κοντά τους και εργάζονταν στο ίδιο εργαστήριο.
Kees Neeft, Thesmophoreia in Greek Colonies: Their Locations and Dates, in A.M. Jaia, C.M. Marchetti, V. Parisi, 'Ti dono Satyrion', in ricordo di Enzo Lippolis, Thiasos 16, Rome, 2021, 115-128
Mélanges de l'Ecole française de Rome. Antiquité, 1981
Cornelis W. Neeft, Observations on the Thapsos class, p. 7-88. ; ; A. distinguishes five types of... more Cornelis W. Neeft, Observations on the Thapsos class, p. 7-88. ; ; A. distinguishes five types of decoration within the Thapsos class : a panel, tripartite, zone, simple, and an ornate type. Their chronology is discussed and the vases are argued to belong to the LG and EPC period. A few fore-runners of MG II date are noticed ; the simple type is shown to exist until c. 600 BC. The place of manufacture is discussed under the headings decoration, shape, fabric, and distribution. Arguments for a manufacture outside Corinth outweigh those in favour of Corinth, but no likely candidate can be pointed out. The question is still open. Various sites where Thapsos vases been found are discussed. A disaster (earthquake ?) is assumed c. 730 BC. to explain the unegual distribution of the class in Delphi.
Bulletin de correspondance hellénique, 1989
Le Musee Canellopoulos possede onze aryballes de forme Protocorinthienne. Sur les dix aryballes s... more Le Musee Canellopoulos possede onze aryballes de forme Protocorinthienne. Sur les dix aryballes subgeometriques, trois appartiennent a la periode globulaire, un a la transition vers la forme ovoide, cinq a la forme ovoide et un au type piriforme. Un exemplaire a figures noires peut etre attribue au peintre de Braunsberg.
Mélanges de l’École française de Rome. Antiquité, 2002
Pelagatti Paola, Di Marco Sylvia, Sourisseau Jean-Christophe, Fouilland Françoise, Neeft Cornelis... more Pelagatti Paola, Di Marco Sylvia, Sourisseau Jean-Christophe, Fouilland Françoise, Neeft Cornelis W., Cordano Federica, Verger Stéphane, Di Stefano Giovanni. Camarina (com. de Ragusa). In: Mélanges de l'École française de Rome. Antiquité, tome 114, n°1. 2002. Antiquité. pp. 541-558
Recognized by Humfrey Payne as far back as 1931, the Sphinx Painter is considered one of the most... more Recognized by Humfrey Payne as far back as 1931, the Sphinx Painter is considered one of the most influential Corinthian artisans during the Transitional and Early Corinthian periods. The article tries to elucidate his position with the help of some new attributions and assess his debt to his predecessors and his influence on fellow craftsmen and successors.
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Papers by Cornelis W. Neeft