The Influence of Greek Pottery Art on Modern Art

In Herakles writes home we can see how Marian Maguire has used unstained mythological ensures taken from ancient Grecian vases and put them into the scenes of New Zealands colony and conflict with Maori to show the effects of the British settlers had on the shaping of New Zealands fate be it negative or positive depending on the viewpoint of the viewers. The can buoy Maguire uses in Herakles writes home is a opprobrious figure curlicue Krater similar in manikin to the lightlessness-figure Volute Krater made by an Anonymous Greek painter between 525and 500BC.The luck sh bes many resemblances with the one used in Herakles writes home which lets me shoot the assumption that the shape of the mint candy in the lithograph is a Volute Krater. Both of their middle proboscis pieces are the in shape with large travel by which gets smaller the further towards the bottom it goes only if dreary figure Volute Krater has more of a slant to where it reaches the base piece whereas t he pot in Maguires lithograph has a sharp depart in angle where it reaches the bottom.The bottom piece in the devil pots is again similar with some variation between the two. The pot in the Herakles writes home has a court band around the base of it which allows for it to have a decorative band in it unlike the Black figure Volute Krater. The band below the top band in the Volute Krater is practically the alike in shape to the one used in the Pot in the Herakles writes home Lithograph the solo difference is the Black figure Volute Krater lacks decoration there.The top band of the two pots is similar but there is a bigger difference between them than well-nigh of the other parts of the pot. In the Pot in the Herakles writes home lithograph the top band is joined at the sides to the handles whereas the Black stick out Volute Kraters handles dont meet at the sides of the top band they are joined to the top of the pot, The top band is similar in shape to each other though the Bla ck Figure Volute Black figure Volute Krater 525-500 BC, Anonymous Greek painter.Black figure Volute Krater 525-500 BC, Anonymous Greek painter. Krater does have more of slant to it. Where the handles move into out of the pot there is the biggest difference. In Herakles writes home the handles infer out of the pot and keep their shape and decoration the same through the whole handle whereas the handles come out of the pot black and smaller than the ends of the handles in the Black Figure Volute Krater then spay into orangey/red with patterns and thicker handles. Even with those differences t is clear that the figure of the original Black figure Volute Krater has influenced what the shape of the pot in Maguires lithograph and that it is clearly an Attic Volute Krater. Handle of an Attic red-figure volute-Krater, 450440 BC depicting the double osseous tissue leaf pattern. Handle of an Attic red-figure volute-Krater, 450440 BC depicting the double ivory leaf pattern. The decorative feature on the pot in the Herakles writes is clearly influenced by other spotless pots but Maguire has incorporated them into a unique way.The handles on the pot in the Herakles writes home lithograph are double ivy leaf but not the traditional ones you find on ancient Greek pots Maguire has put a twist on it by replacing the ivy bring out shape with that of the Kowhai tree which is native to New Zealand (Something about what it shows about something) Another decoration in the pot that bears classical influence is the chevron pattern on the foot of the pot depicted in Maguires lithograph similar to the pattern around the top of the Persephone painters red-figure bell-Krater. 440 B. C. Red-figure Bell-Krater Attributed to the Persephone painter 440 B. C. Red-figure Bell-Krater Attributed to the Persephone Painter Whats interesting about the pattern is that the leaves used are that they are olive tree leaves arrange I a way that it looks like an olive miscellany. The reason Magu ire has chosen to use an olive wreath in this particular artwork is that an olive wreath signifies being victorious and also peace as in the ancient Greek Olympic Games the winners of events were awarded Olive Wreaths from wild-olive leafs from a sacred tree near the synagogue of Zeus at Olympia.Maguire used this as a symbol because it creates a contrast between the settlers and England at that time, as Herakles was the son of Zeus it gives a family link between the figure of Herakles in place of a settler on the pot and the wreath is a symbol of Zeus who being the father of Herakles would be in the Place of Settler period England. The presence of the wreath also signifies the victory of the Maori population of sore Zealand which if in the Ancient Olympic Games the two cultures, Maori and Settler, would have een awarded to the victor which in this case was the settlers, this can be backed up by the relaxed and post battle/victorious feel of the scene on the tummy of the pot. Bott om of the Herakles contend a Centaur, Greek, Athens, about 530520 B. C pot depicting stylised rays. Bottom of the Herakles Attac exponent a Centaur, Greek, Athens, about 530520 B. C pot depicting stylised rays.The next feature on the pot on Maguires lithograph was stylised rays, but not as the same as the classical Greek stylised rays depict iced on the picture to the left but with a European/settler twist. Maguire has put in Settler Farming tools In the place of the classical Greeks rays. This forceful change to what normally would have gone in there leaves us wondering why she would change this.The reason behind this would be that it shows how drastic the change the settlers bought in on New Zealand and replaced the old with their unseasoned stuff leaving little evidence of the old but its adapted style and structure. Greek pot depicting Herakles and the Nemean Lion Aegisthus Painter 470 B. C. Greek pot depicting Herakles and the Nemean Lion Aegisthus Painter 470 B. C. Herakles was perhaps the most glorified and famous Greek mill who achieved immortality due to his feats and Maguire has used this image of Herakles to reinforce the ideas she is conveying.The idea of Herakles as his own man is perhaps the misconceived thing about him as his twelve labours were directed by Eurystheus, the king of Tiryns and Mycenae on the domination of Apollo after killing his wife and children in a fit of madness Hera bring on in him, but it is important to point out that even though he was under the command of Eurytheus he did it of his own free will and by completing these twelve labours he became the greatest hero in all of Greek mythology.By skilfully using Herakles in the place of settlers Maguire has given us a better understanding of the message she is conveying. One of the main things about Herakles being the Greek mythological figure Maguire used is the fact that he was an instrument to complete the tasks of Eurystheus which the settlers were to England merely t ools to complete tasks for their own benefit.In the case of Herakles he built up his own Kleos by completing these feats and intimidating Eurythesus causing Eurythesus to fear for his life stupid(p) at his manhood, Eurystheus forbade him thereafter to enter the city, but ordered him to exhibit the fruits of his labours before the gates. They say, too, that in his fear he had a bronze jar made for himself to hide in under the Amazed at his manhood, Eurystheus forbade him thenceforth to enter the city, but ordered him to exhibit the fruits of his labours before the gates.They say, too, that in his fear he had a bronze jar made for himself to hide in under the earth Apollodorus, the ancient writer who collected legends in his mythology handbook, thelibrary, this may not be a completely true tale as Myths handed vanquish orally and werent physically recorded until late after their creation which makes bits of the Myth liable to changes because of a sort of Chinese whisper effect. This is similar to the situation with the settlers and England latter on http//art. thewalters. org/detail/13467 http//art. thewalters. org/detail/13467