- chapter 52: The Etruscan painted pottery –
Figure 52.11 Black-fi gure amphora, from Orvieto, sixth century bc. University of Pennsylvania
Museum MS 2491, image no. 4689 & 4690. Turfa 2005: no. 176.at Caere (22 of 77 vases defi nitely attributable to the group were found in Caere), and
connected to the production of Caeretan hydriai (under the direct infl uence of Caeretan
hydriai, according to Hemelrijk). The shape of the vase, the table amphora for wine, is
linked to the wine production of Caere.
Between 520 and 490 bc Etruscan pottery production is dominated by the Micali
Painter and his school, with Ionian infl uence, but a more decorative style (cf. Fig. 48.3).
More than 200 vases are ascribed directly to his hand. Hundreds of vases of the Micali
Painter were for the most part ultimately intended for deposition in tombs. The early
works of the Painter (Early I) are infl uenced by the late works of Pontic pottery (Tityos
Painter with whom he worked); the scenes contain fantastic animals, the draftsmanship
is quick. In the second phase (Early II) the friezes are separated by bands of birds in
static poses. In the mature phase (Middle I and II) are included many vases, with more
diversifi ed shapes and scenes with a study of proportions and anatomy of the human
fi gure. In the late phase (Late) (520–510 bc), under the infl uence of Attic pottery, the
fi gures are the most dynamic in pose and the phytomorphic friezes increase.
The Micali Painter vases present to us a world of jaunty centaurs, sirens, sphinxes,
winged horses and satyrs. His workshop seems to have been particularly prolifi c (Painter
of Vatican 238, Kyknos Painter, Group of Kape Mukathesa, Group of Florence 80675,
Orbetello Group and Bisenzio Group). Kape (slave) of Mukathe is working in the workshop
of the Micali painter. Kape signed a little amphora from Vulci preserved in Würzburg (see
Chapter 21).
In Orvieto, during the late sixth and the fi rst quarter of the fi fth century bc, the Group
of Monaco 892, Monaco 883, and Vatican 265 produces large vases with silhouette scenes
often featuring two fi gures (athletes, youths, battle scenes) made without internal details
(sometimes overpainted in white). The Orvieto Group (Fig. 52.12), with its fl aws and