(artist unknown, located at Corinth, Greece) (c.600 bc). Corinthian Olpe [ceramic with black-figure decoration]. The British Museum, London.

This work carries remarkable integration of positive and negative space and contrasting rigid and curved animal forms. Free-floating rosettes create a global texture and each figure has an upright sense of vitality. These registers are quite pleasing. | 

Elemental arrangement is loosely calculated but might not qualify as strict design. The decorative elemental treatment of the two registers is, in a general sense, typical of ancient creations across western cultures. However, the specific creatures, their poses and the integration of eastern styles into their own is distinctly Greek. A loose story is told around the depictions. Most of the creatures are shown in intuitive profile, where, for example, the Egyptians would’ve forced fractional representation. Some share the same head, shown straight-on, while their bodies maintain profile views. This, along with the sensitive arrangement of rosettes, are examples of the exquisite use of space on the part of the creator.

Shapes are largely defined by lines which match the color of the background and are organic in character. Local abstract patterns are used to imply scales, fur and feathers. Unvaried areas of color and highly abstracted shapes complete the subtle lateral pace and the decorative character of both registers. Pictorially, this work is stable, but not static. There is too much energy infused in the creatures for there not to be a sense of movement. Approximate symmetry applies. 

The calm of the overall mood is nicely contrasted by the dangerous energy of the creatures. Some seem to be in conflict. Shapes are arranged a little more loosely than the tightly-controlled manner of the time, but this is still quite sensitive to balancing between positive and negative space. The value palette is constricted to three “stops”, however those stops range widely. In total, elemental proportions favor harmony, somewhat less than other works of the time period. 

If I had to choose a focal point for either register, it would either be the conflict between the serpent and hybrid-figure on the upper register, or the perspective merging of the two feathered creatures on the lower register. While fore- and backgrounds are firmly established, pacing and embellishment are so minimal, and shape treatment so consistent, that attention is diffuse.



The way some parts of the subjects overlap register borders deserve special mention because it reveals a portion of the Greek character that is willing to step outside of canonical rules. A work of beauty on its own, it is an excellent example of the Greek Orientalizing period, which was characterized by highly flattened, shadow-like forms and comparatively open compositions.