# Geometric art

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Phase of Greek art, characterized largely by geometric motifs in vase painting

The [Dipylon Amphora](/source/Dipylon_Amphora), mid-8th century BC, with human figures. [National Archaeological Museum](/source/National_Archaeological_Museum%2C_Athens), Athens.

Part of a series on the History of Greek art Greek Bronze Age Aegean art Cycladic art Minoan art Minoan pottery Mycenaean art Mycenaean pottery Protogeometric art Ancient Greece Geometric art Archaic Greek art Ancient Greek art Ancient Greek architecture Ancient Greek pottery Ancient Greek sculpture Hellenistic art see also: Greco-Buddhist art Medieval Greece Byzantine art Byzantine Iconoclasm Macedonian art Post-Byzantine Greece Cretan school Heptanese school Modern Greece Modern Greek art Modern Greek architecture Munich School Contemporary Greek art v t e

**Geometric art** is a phase of [Greek art](/source/Greek_art), characterized largely by geometric [motifs](/source/Motif_(visual_arts)) in [vase painting](/source/Pottery), that flourished towards the end of the [Greek Dark Ages](/source/Greek_Dark_Ages) and a little later, c. 900–700 BC.[1] Its center was in [Athens](/source/Ancient_Athens), and from there the style spread among the trading cities of the [Aegean](/source/Aegean_Islands).[2] The so-called Greek Dark Ages were considered to last from c. 1100 to 800 BC[3] and include the phases from the [Protogeometric period](/source/Protogeometric_style) to the Middle Geometric I period, which Knodell (2021) calls Prehistoric Iron Age.[4] The vases had various uses or purposes within Greek society, including, but not limited to, [funerary vases](/source/Ancient_Greek_funerary_vases) and [symposium](/source/Symposium_(ancient_Greece)) vases.

## Usage

### Funerals

Main article: [Ancient Greek funerary vases](/source/Ancient_Greek_funerary_vases)

Large funerary vases (often Dipylon [kraters](/source/Krater) for men, and belly-handled [amphorae](/source/Amphora) for women)[5] not only depicted funerary scenes, but they also [had practical purposes](/source/Ancient_Greek_funeral_and_burial_practices), either holding the ashes or being used as grave markers.[6] These vases often carried funerary imagery to commemorate the dead; the deceased person was depicted robed lying in state ([*prothesis*](/source/Lying_in_repose)), often surrounded by mourning family members, or lying in a bed and carried to the grave with an honorary chariot procession (*[ekphora](/source/Ekphora)*). The depiction was accompanied by various heroic scenes and warfare imagery which are thought to be related to similar descriptions of the [Homeric](/source/Homer) epics and were used to enhance the heroic ambience.[5] To the Greeks, an omission of a proper burial was an insult to proper dignity.[6] The mythological context of a proper burial relates to the Greeks' belief in a continued existence in the [underworld](/source/Greek_underworld) that will disallow the dead to maintain peace in the absence of a proper burial ritual.

### Symposia

Aside from its funerary use, the Greeks also utilized various vessels during [symposia](/source/Symposium_(ancient_Greece)). The Greek symposium was a social gathering that only aristocratic males were allowed to attend.[7] Vessels, such as wine coolers, jugs, various drinking cups, and mixing vessels, were decorated with Greek, geometric scenes. Some of the scenes depicted drinking parties or [Dionysus](/source/Dionysus) and his followers.[7] The symposia were held in the *andron*, which was a men's-only room.[8] The only women allowed into this room were called "*[hetaera](/source/Hetaira)*", or female sex-workers, who required payment from their regular, male companions.[8]

## Periodization

### Protogeometric period

The [Protogeometric style](/source/Protogeometric_style) (1025–900 BC)[9][10][4] inherits its decorative forms and motifs from [Mycenaean](/source/Mycenaean_Greece) [tradition](/source/Mycenaean_pottery) and is mostly visible in ceramic production. Technological developments of the era created a new relationship between ornament and structure, causing differing stylistic choices from its Mycenaean influences.[11] The shapes of the vessels have eliminated the fluid nature of the Mycenaean creating a more strict and simple design. There are horizontal, decorative bands that feature geometric shapes, including concentric circles or semicircles.[12] Other characteristics of the early Protogeometric style included [monochrome](/source/Monochrome) pottery and wavy lines on the shoulders.[13] Common vase shapes of the period include [*amphorai*](/source/Amphora) with the handles on both the belly and the neck, *[hydriai](/source/Hydria)* (water jars), *[oinochoai](/source/Oenochoe)* (wine jugs), *[lekythoi](/source/Lekythos)*, and *[skyphoi](/source/Skyphos)* (stemless cups).[12] Protegeometric pottery style is thought to have been led by [Athens](/source/Athens), while other regions also had their own local variations, most notably [Thessaly](/source/Ancient_Thessaly), [Euboea](/source/Euboea), [Crete](/source/Crete) etc.[11] The Protogeometric period did not yet feature human figures within its art, but horses were pictured during this time period.[14] The village of [Lefkandi](/source/Lefkandi) in Euboea is considered one of the most representative sites of the Early Protogeometric style. New shapes, like the [*kalathos*](/source/Calathus_(basket)) and [pyxis](/source/Pyxis_(vessel)), are thought to have been introduced during the Late Protogeometric period.[13]

### Early Geometric period

Circular shrine containing the figure of a goddess with upraised arms. Two prone figures, perhaps worshipers, observe the goddess through the opening in the roof, while an animal lies beside them. c. 850-800 BC, [Archaeological Museum of Heraklion](/source/Archaeological_Museum_of_Heraklion)

In the early Geometric period (900–850 BC), the height of the vessels had been increased, while the decoration was limited around the neck down to the middle of the body of the vessel. The remaining surface is covered by a thin layer of clay, which during the firing takes a dark, shiny, metallic color.[15] This was the period when the decorative theme of the [meander](/source/Meander_(art)) was added to the pottery design, the most characteristic element of Geometric art.

During this period, a broader repertoire of vessel shapes was initiated. Specifically, amphorae were used to hold cremation ashes. The amphorae featured handles on the neck or shoulder for males, while featuring handles on the "belly" of the vase for women.[14]

### Middle Geometric period

By the middle Geometric period (850–760 BC), the decorative zones appear multiplied due to the creation of a laced mesh, while the meander dominates and is placed in the most important area, in the metope, which is arranged between the handles.

Based on excavations at Sindos, mentioned by Gimatzidis and Weninger (2020), Alagich et al. (2024) consider the possibility that Middle Geometric period began 140 years earlier, lasting (c. 990-870 BC).[16]

#### Protogeometric to Middle Geometric artifacts

		- [Centar](/source/Centaur) [Chiron](/source/Chiron) of Lefkandi, c. 1050-900 BC, [Archaeological Museum of Eretria](/source/Archaeological_Museum_of_Eretria)

		- Shoulder handled [amfora](/source/Amphora), Attic workshop, c. 875-850 BC

		- Clay amphora, c. 800-760 BC, [Museum of Cycladic Art](/source/Goulandris_Museum_of_Cycladic_Art), Athens

		- Clay [skyphos](/source/Skyphos), c. 775-750 BC, Museum of Cycladic Art, Athens

### Late Geometric period

Detail from the Hirschfeld Krater (c. 750-730 BC); *prothesis* scene (above), *ekphora* scene (below)

Late Geometric period lasted from 750 to 700/650 BC.[4] Some potters enriched again the decorative organization of the vases, stabilized the forms of the animals in the areas of the neck and the base of the vase, and introduced the human form between the handles. The late Geometric period was marked by a 1.62 metres (5 ft 4 in) amphora that was made by the [Dipylon painter](/source/Dipylon_Master) in around 760–750 BC.[17] The vase was a grave marker to an [aristocratic woman](/source/Nobility) in the Dipylon cemetery.[17] This was the first phase of the late Geometric period (760–700 BC), in which the great vessels of Dipylon ware placed on the graves as funeral monuments[18] and represented their height (often at a height of 1.5 metres (4 ft 11 in)). The funerary imagery on the vases included the deceased person lying in state ([*prothesis*](/source/Lying_in_repose)) surrounded by mourning figures, or lying in a bed and carried to the grave with an honorary chariot procession (*ekphora*). It was accompanied by heroic scenes and warfare imagery, thought to be related to similar descriptions of the [Homeric](/source/Homer) epics.[5]

Detail of a [chariot](/source/Chariot) from a late Geometric [krater](/source/Krater) attributed to the [Trachones](/source/Euonymeia) workshop on display at the [Metropolitan Museum of Art](/source/Metropolitan_Museum_of_Art)

People and animals are depicted geometrically in a dark glossy color, while the remaining vessel is covered by strict zones of meanders, crooked lines, circles, swastikas, in the same graphical concept. Later, the main tragic theme of the wail declined, the compositions eased, the geometric shapes became more free, and areas with animals, birds, scenes of shipwrecks, hunting scenes, themes from mythology or the Homeric epics led Geometric pottery into more naturalistic expressions.[19]

One of the characteristic examples of the late Geometric style is the oldest surviving signed work of a Greek potter, Aristonothos (or Aristonophos) (7th century BC). The vase was found at [Cerveteri](/source/Cerveteri) in Italy and illustrates the blinding of [Polyphemus](/source/Polyphemus) by [Odysseus](/source/Odysseus) and his companions.[20] From the mid-8th century BC, the closer contact between Greece and the East enriched the [ceramic art](/source/Ceramic_art) with new subjects – such as lions, panthers, imaginary beings, rosettes, palmettes, lotus flowers etc. – that led to the [Orientalizing period](/source/Orientalizing_period) style, in which the pottery style of [Corinth](/source/Ancient_Corinth) distinguished.

Based on excavations, and radiocarbon dating, at the site Zagora on the island of Andros, and previous datings at Sindos, Alagich et al. (2024) suggest Late Geometric I Period began around 120 years earlier than the traditional chronology, and lasted (c. 870-730 BC).[16]

		- [Boetian](/source/Boeotia) [oinochoe](/source/Oinochoe), c. 750 BC, National Archaeological Museum, Athens

		- [Kalathos](/source/Calathus_(basket)) from child burial, c. 750-700 BC, [Kerameikos Museum](/source/Kerameikos_Archaeological_Museum), Athens

		- Horse figure carrying four amphoras from a child burial, c. 750-700 BC, Kerameikos Museum, Athens

		- Bird figures from child burial, c. 750-700 BC, Kerameikos Museum, Athens

		- [Attic](/source/Attica) [pyxis](/source/Pyxis_(vessel)) with four horse figurines on top, c. 735 BC, Wadsworth Atheneum, Hartford

		- Bronze horse, 8th century BC

## Motifs

The Hirschfeld Krater, mid-8th century BC, from the late Geometric period, National Archaeological Museum, Athens

Vases in the Geometric style are characterized by several horizontal bands about the circumference covering the entire vase. Between these lines the Geometric artist used a number of other decorative motifs such as the [zigzag](/source/Zigzag), the triangle, the meander and the [swastika](/source/Swastika). Besides abstract elements, painters of this era introduced stylized depictions of humans and animals which marks a significant departure from the earlier [Protogeometric style](/source/Protogeometric_style). Many of the surviving objects of this period are funerary objects, a particularly important class of which are the amphorae that acted as grave markers for aristocratic graves, principally the [Dipylon Amphora](/source/Dipylon_Amphora) by the [Dipylon Master](/source/Dipylon_Master)[21] who has been credited with a number of kraters and amphorae from the late Geometric period.[22]

[Linear](/source/Linearity) designs were the principal [motif](/source/Motif_(visual_arts)) used in this period. The meander pattern was often placed in bands and used to frame the now larger panels of decoration. The areas most used for decoration by [potters](/source/Pottery) on shapes such as the [amphorae](/source/Amphora) and *[lekythoi](/source/Lekythos)* were the neck and belly, which not only offered the greatest liberty for decoration but also emphasized the taller dimensions of the vessels.[23]

The first human figures appeared around 770 BC on the handles of vases. The human forms are easily distinguished because they do not overlap with one another, making the painted black forms discernible from one another against the color of the clay body.[22] The males were depicted with triangular [torsos](/source/Torso), ovoid heads with blobs for noses and long cylindrical thighs and calves. Female figures were also [abstracted](/source/Abstract_art). Their long hair was depicted as a series of lines, as were their breasts, which appeared as strokes under the armpits.[24]

## Techniques

Two techniques of this time period include [red-figure pottery](/source/Red-figure_pottery) and [black-figure pottery](/source/Black-figure_pottery). The black figure pottery started around 700 BC, and it remained the dominant style until its successor, red figure pottery, was invented around 530 BC.[25] The switch from black figure pottery to red figure pottery was made due to the enhanced detail that red figured pottery allowed its artists.

## Narrative art

The notion of [narrative](/source/Narrative_art) during this time period exists between the artist and the audience. The artist communicates with the viewer, but the viewer's interpretation can sometime be an inaccurate interpretation. Furthermore, multiple interpretations of a singular artwork can be created by the viewer. A combination of historical, mythological, and societal context is needed to interpret the stories told within Greek Geometric art. The artwork during the Geometric period can be seen as "supplementary sources and illustrative materials for [Greek mythology](/source/Greek_mythology) and Greek literature".[26] The scenes that are depicted within Greek Geometric art contain various interpretations through analysis of the depicted scenes. Art historians must decide if the stylistic choices that were made during this time period were for a specific reason or simply coincidental.

## See also

External videos Geometric Greek Krater, Smarthistory.

Wikimedia Commons has media related to [Ancient Greek Geometric pottery](https://commons.wikimedia.org/wiki/Category:Ancient_Greek_Geometric_pottery).

- [List of Greek vase painters § Geometric period](/source/List_of_Greek_vase_painters#Geometric_period)

- [Mycenaean pottery](/source/Mycenaean_pottery)

- [Apulian pottery](/source/Apulian_vase_painting)

- [Orientalizing period](/source/Orientalizing_period)

- [Kerameikos Archaeological Museum](/source/Kerameikos_Archaeological_Museum)

## References

1. **[^](#cite_ref-FOOTNOTEKnodell2021p._7_Table_1:_"Early_Geometric_[...]_900-850_BCE_[...]_Late_Geometric...750-700..."_1-0)** [Knodell 2021](#CITEREFKnodell2021), p. 7 Table 1: "Early Geometric [...] 900-850 BCE [...] Late Geometric...750-700...".

1. **[^](#cite_ref-:62_2-0)** Snodgrass, A. M. (December 1973). "Geometric Art - Bernhard Schweitzer: Greek Geometric Art. Pp. 352; 239 plates, 137 figs. London: Phaidon Press, 1971. Cloth, £9·50". *The Classical Review*. **23** (2): 249–252. [doi](/source/Doi_(identifier)):[10.1017/s0009840x00240729](https://doi.org/10.1017%2Fs0009840x00240729). [JSTOR](/source/JSTOR_(identifier)) [707869](https://www.jstor.org/stable/707869). [S2CID](/source/S2CID_(identifier)) [163975123](https://api.semanticscholar.org/CorpusID:163975123).

1. **[^](#cite_ref-:72_3-0)** ["The History of Greece"](https://web.archive.org/web/20161207230729/http://www.hellenicfoundation.com/History.htm). *Hellenicfoundation.com*. Archived from [the original](http://www.hellenicfoundation.com/History.htm) on 2016-12-07. Retrieved 2016-01-04.

1. ^ [***a***](#cite_ref-FOOTNOTEKnodell20217_4-0) [***b***](#cite_ref-FOOTNOTEKnodell20217_4-1) [***c***](#cite_ref-FOOTNOTEKnodell20217_4-2) [Knodell 2021](#CITEREFKnodell2021), p. 7.

1. ^ [***a***](#cite_ref-FOOTNOTELangdon2010288_5-0) [***b***](#cite_ref-FOOTNOTELangdon2010288_5-1) [***c***](#cite_ref-FOOTNOTELangdon2010288_5-2) [Langdon 2010](#CITEREFLangdon2010), p. 288.

1. ^ [***a***](#cite_ref-:32_6-0) [***b***](#cite_ref-:32_6-1) Department of Greek and Roman Art (October 2003). ["Death, Burial, and the Afterlife in Ancient Greece | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art"](https://www.metmuseum.org/toah/hd/dbag/hd_dbag.htm). *The Met's Heilbrunn Timeline of Art History*. Retrieved 2017-12-01.

1. ^ [***a***](#cite_ref-:42_7-0) [***b***](#cite_ref-:42_7-1) Department of Greek and Roman Art (October 2002). ["The Symposium in Ancient Greece | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art"](https://www.metmuseum.org/toah/hd/symp/hd_symp.htm). *The Met's Heilbrunn Timeline of Art History*. Retrieved 2017-12-01.

1. ^ [***a***](#cite_ref-:52_8-0) [***b***](#cite_ref-:52_8-1) ["Wine, Women, and Wisdom: The Symposia of Ancient Greece"](https://web.archive.org/web/20170122015542/http://www.nationalgeographic.com/archaeology-and-history/magazine/2017/01-02/ancient-greece-symposium-dinner-party/). 2017-01-17. Archived from [the original](https://www.nationalgeographic.com/archaeology-and-history/magazine/2017/01-02/ancient-greece-symposium-dinner-party/) on January 22, 2017. Retrieved 2017-12-01.

1. **[^](#cite_ref-Van_Damme_9-0)** Van Damme, Trevor, and Lis Bartłomiej, (29 October 2024). ["The origin of the Protogeometric style in northern Greece and its relevance for the absolute chronology of the Early Iron Age"](https://www.cambridge.org/core/journals/antiquity/article/origin-of-the-protogeometric-style-in-northern-greece-and-its-relevance-for-the-absolute-chronology-of-the-early-iron-age/3D39D12E7D475D33E702BB98269F293C), in: Antiquity, 2024, Vol. 98, No. 401, pp. 1271-1289, Table 1: "Early Protogeometric in Central Greece and Attica, 1025 cal BC."

1. **[^](#cite_ref-10)** Fantalkin, Alexander; Kleiman, Assaf; Mommsen, Hans; Finkelstein, Israel (December 2020). "Aegean Pottery in Iron IIA Megiddo: Typological, Archaeometric and Chronological Aspects". *Mediterranean Archaeology and Archaeometry*. **20** (3): 135–148. [doi](/source/Doi_(identifier)):[10.5281/zenodo.3960190](https://doi.org/10.5281%2Fzenodo.3960190). [Gale](/source/Gale_(publisher)) [A639890348](https://go.gale.com/ps/anonymous?id=GALE%7CA639890348).

1. ^ [***a***](#cite_ref-FOOTNOTELangdon2010287_11-0) [***b***](#cite_ref-FOOTNOTELangdon2010287_11-1) [Langdon 2010](#CITEREFLangdon2010), p. 287.

1. ^ [***a***](#cite_ref-:16_12-0) [***b***](#cite_ref-:16_12-1) Mannack, Thomas (2013). ["Greek Decorated Pottery I: Athenian Vase-painting"](https://onlinelibrary.wiley.com/doi/abs/10.1002/9781118273289.ch3). In [Smith, Tyler Jo](/source/Tyler_Jo_Smith); Plantzos, Dimitris (eds.). *A Companion to Greek Art*. p. 40. [doi](/source/Doi_(identifier)):[10.1002/9781118273289](https://doi.org/10.1002%2F9781118273289). [ISBN](/source/ISBN_(identifier)) [978-1-4051-8604-9](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4051-8604-9).

1. ^ [***a***](#cite_ref-FOOTNOTEGadolouHandberg201744–45_13-0) [***b***](#cite_ref-FOOTNOTEGadolouHandberg201744–45_13-1) [Gadolou & Handberg 2017](#CITEREFGadolouHandberg2017), pp. 44–45.

1. ^ [***a***](#cite_ref-FOOTNOTELangdon2010286–290_14-0) [***b***](#cite_ref-FOOTNOTELangdon2010286–290_14-1) [Langdon 2010](#CITEREFLangdon2010), pp. 286–290.

1. **[^](#cite_ref-b_15-0)** [Pliny the Elder](/source/Pliny_the_Elder), [Natural History](/source/Natural_History_(Pliny)), 35th and 36th Books

1. ^ [***a***](#cite_ref-Alagich_et_al._16-0) [***b***](#cite_ref-Alagich_et_al._16-1) Alagich, Rudolf; Becerra-Valdivia, Lorena; Miller, Margaret C.; Trantalidou, Katerina; Smith, Colin (26 February 2024). ["Mediterranean Early Iron Age chronology: assessing radiocarbon dates from a stratified Geometric period deposit at Zagora (Andros), Greece"](https://www.cambridge.org/core/services/aop-cambridge-core/content/view/BED7491DD5F61A742B5B95F6C2254B92/S0003598X24000164a.pdf/mediterranean-early-iron-age-chronology-assessing-radiocarbon-dates-from-a-stratified-geometric-period-deposit-at-zagora-andros-greece.pdf) (PDF). *Antiquity*. **98** (398): 454–469. [doi](/source/Doi_(identifier)):[10.15184/aqy.2024.16](https://doi.org/10.15184%2Faqy.2024.16).

1. ^ [***a***](#cite_ref-Mannack_17-0) [***b***](#cite_ref-Mannack_17-1) Mannack, Thomas (2013). ["Greek Decorated Pottery I: Athenian Vase-painting"](https://onlinelibrary.wiley.com/doi/abs/10.1002/9781118273289.ch3). In Smith, Tyler Jo; Plantzos, Dimitris (eds.). *A Companion to Greek Art*. pp. 42–43. [doi](/source/Doi_(identifier)):[10.1002/9781118273289](https://doi.org/10.1002%2F9781118273289). [ISBN](/source/ISBN_(identifier)) [978-1-4051-8604-9](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4051-8604-9).

1. **[^](#cite_ref-Wood_18-0)** Woodford, Susan. (1982) *The Art of Greece and Rome*. Cambridge: [Cambridge University Press](/source/Cambridge_University_Press), p. 40. [ISBN](/source/ISBN_(identifier)) [0521298733](https://en.wikipedia.org/wiki/Special:BookSources/0521298733)

1. **[^](#cite_ref-:82_19-0)** [Geometric periods of pottery](http://www.greek-thesaurus.gr/geometric-period-art.html) at Greek-thesaurus.gr

1. **[^](#cite_ref-20)** Izzet, Vedia (2004). ["Purloined Letters: The Aristonothos Inscription and Krater"](https://brill.com/display/book/edcoll/9789047402664/B9789047402664-s010.xml). *Greek Identity in the Western Mediterranean*. Brill. pp. 191–210. [doi](/source/Doi_(identifier)):[10.1163/9789047402664_010](https://doi.org/10.1163%2F9789047402664_010). [ISBN](/source/ISBN_(identifier)) [9789047402664](https://en.wikipedia.org/wiki/Special:BookSources/9789047402664).

1. **[^](#cite_ref-:122_21-0)** Coldstream, John Nicolas (2003). *Geometric Greece: 900-700 BC*. Psychology Press. [ISBN](/source/ISBN_(identifier)) [978-0-415-29899-5](https://en.wikipedia.org/wiki/Special:BookSources/978-0-415-29899-5).[*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

1. ^ [***a***](#cite_ref-:0_22-0) [***b***](#cite_ref-:0_22-1) Coldstream, J. N. (1991). ["The Geometric style: birth of the picture"](https://books.google.com/books?id=NOsHLwaRUZIC&pg=PA37). In Rasmussen, Tom; Spivey, Nigel (eds.). *Looking at Greek Vases*. Cambridge University Press. pp. 37–57. [ISBN](/source/ISBN_(identifier)) [978-0-521-37679-2](https://en.wikipedia.org/wiki/Special:BookSources/978-0-521-37679-2).

1. **[^](#cite_ref-:132_23-0)** Snodgrass, Anthony M. (2001). *The Dark Age of Greece: An Archaeological Survey of the Eleventh to the Eighth Centuries BC*. Taylor & Francis. [ISBN](/source/ISBN_(identifier)) [978-0-415-93636-1](https://en.wikipedia.org/wiki/Special:BookSources/978-0-415-93636-1).[*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

1. **[^](#cite_ref-:142_24-0)** Morris, Ian (1991). *Archaeology as Cultural History: Words and Things in Iron Age Greece*. Wiley. [ISBN](/source/ISBN_(identifier)) [978-0-631-19602-0](https://en.wikipedia.org/wiki/Special:BookSources/978-0-631-19602-0).[*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

1. **[^](#cite_ref-:152_25-0)** [*Ancient Greek vase production and the black-figure technique*](https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/greek-pottery/v/ancient-greek-vase-black-figure-technique), retrieved 2017-11-30

1. **[^](#cite_ref-:102_26-0)** Hanfmann, George M. A. (1957). "Narration in Greek Art". *American Journal of Archaeology*. **61** (1): 71–78. [doi](/source/Doi_(identifier)):[10.2307/501083](https://doi.org/10.2307%2F501083). [JSTOR](/source/JSTOR_(identifier)) [501083](https://www.jstor.org/stable/501083). [S2CID](/source/S2CID_(identifier)) [193094348](https://api.semanticscholar.org/CorpusID:193094348).

### Sources

- Gadolou, Anastasia; Handberg, Soren (2017). [*Material Koinai in the Greek Early Iron Age and Archaic Period*](https://books.google.com/books?id=n9oKEAAAQBAJ). Aarhus Universitetsforlag. [ISBN](/source/ISBN_(identifier)) [978-87-7184-569-3](https://en.wikipedia.org/wiki/Special:BookSources/978-87-7184-569-3).

- Knodell, Alex R. (2021). [*Societies in Transition in Early Greece: An Archaeological History*](https://www.academia.edu/49319878). Oakland: [University of California Press](/source/University_of_California_Press). [ISBN](/source/ISBN_(identifier)) [978-0-5203-8053-0](https://en.wikipedia.org/wiki/Special:BookSources/978-0-5203-8053-0).

- Langdon, Susan (2010). ["Geometric and Protogeometric Art"](https://books.google.com/books?id=lNV6-HsUppsC&pg=RA2-PA286). *The Oxford Encyclopedia of Ancient Greece and Rome*. Oxford University Press. pp. 286–290. [ISBN](/source/ISBN_(identifier)) [978-0-19-517072-6](https://en.wikipedia.org/wiki/Special:BookSources/978-0-19-517072-6).

[Library resources](https://en.wikipedia.org/wiki/Wikipedia:The_Wikipedia_Library) about
 **Geometric art**

- [Online books](https://ftl.toolforge.org/cgi-bin/ftl?st=wp&su=Geometric+art&library=OLBP)

- [Resources in your library](https://ftl.toolforge.org/cgi-bin/ftl?st=wp&su=Geometric+art)

- [Resources in other libraries](https://ftl.toolforge.org/cgi-bin/ftl?st=wp&su=Geometric+art&library=0CHOOSE0)

## Further reading

- Boardman, John (2001). *The History of Greek Vases: Potters, Painters, Pictures*. New York: Thames & Hudson.

- Cook, Robert Manuel; Dupont, Pierre (1998). *East Greek Pottery*. London: Routledge.

- Farnsworth, Marie (1964). "Greek Pottery: A Mineralogical Study". *American Journal of Archaeology*. **68** (3): 221–228. [doi](/source/Doi_(identifier)):[10.2307/502385](https://doi.org/10.2307%2F502385). [JSTOR](/source/JSTOR_(identifier)) [502385](https://www.jstor.org/stable/502385). [S2CID](/source/S2CID_(identifier)) [192590582](https://api.semanticscholar.org/CorpusID:192590582).

- Gjerstad, Einar; Calvet, Yves (1977). *Greek Geometric and Archaic Pottery Found In Cyprus*. Stockholm: Svenska institutet i Athen.

- Luke, Joanna (2003). *Ports of Trade, Al Mina and Geometric Greek Pottery In the Levant*. Oxford: Archaeopress.

v t e Ancient Greek vase painting Techniques Three-phase firing Bilingual White-ground Black-glazed Ware West Slope Ware Black-figure Six's Red-figure Kerch Stylistic periods Sub-Mycenaean Protogeometric Geometric Orientalizing Stylistic regions Argive Attic Chalkidian (Pseudo-Chalkidian) Cycladic Euboean Laconian Thessalian East Greek Ionic Klazomenian Rhodian Samian Wild Goat Caeretan hydria South Italian Lucanian Paestan Campanian Apulian Canosa vases Gnathia vases Sicilian Centuripe ware Boeotian Kabiria Group Etruscan Pontic Group Painters List of Greek vase painters Scholars John Beazley Adolf Furtwangler Special topics Corpus vasorum antiquorum East Greek Bird Bowl Hadra vase Kalos inscription Name vase

v t e Premodern, Modern and Contemporary art movements List of art movements/periods Premodern (Western) Ancient Thracian Dacian Nuragic Aegean Cycladic Minoan Minyan ware Mycenaean Greek Sub-Mycenaean Protogeometric Geometric Orientalizing Archaic Black-figure Red-figure Severe style Classical Kerch style Hellenistic "Baroque" Indo-Greek Greco-Buddhist Neo-Attic Etruscan Scythian Iberian Gaulish Roman Republican Gallo-Roman Julio-Claudian Pompeian Styles Trajanic Severan Medieval Late antique Early Christian Coptic Ethiopian Migration Period Anglo-Saxon Hunnic Insular Lombard Visigothic Donor portrait Pictish Mozarabic Repoblación Viking Byzantine Iconoclast Macedonian Palaeologan Italo-Byzantine Frankish Merovingian Carolingian Pre-Romanesque Ottonian Romanesque Mosan Spanish Norman Norman-Sicilian Opus Anglicanum Gothic Gothic art in Milan International Gothic International Gothic art in Italy Lucchese school Crusades Moscow school Novgorod school Vladimir-Suzdal school Duecento Sienese school Mudéjar Medieval cartography Italian school Majorcan school Mappa mundi Renaissance Italian Renaissance Trecento Proto-Renaissance Florentine school Pittura infamante Quattrocento Ferrarese school Forlivese school Venetian school Cinquecento High Renaissance Bolognese school Mannerism Counter-Maniera Northern Renaissance Early Netherlandish World landscape Ghent–Bruges school Northern Mannerism German Renaissance Cologne school Danube school Dutch and Flemish Renaissance Antwerp Mannerism Romanism Still life English Renaissance Tudor court Cretan school Turquerie Fontainebleau school Art of the late 16th century in Milan 17th century Baroque Baroque in Milan Flemish Baroque Caravaggisti in Utrecht Tenebrism Louis XIII style Lutheran Baroque Stroganov school Animal painting Guild of Romanists Dutch Golden Age Delft school Capriccio Heptanese school Classicism Louis XIV style Poussinists and Rubenists 18th century Rococo Rocaille Louis XV style Frederician Chinoiserie Fête galante Neoclassicism Goût grec Louis XVI style Adam style Directoire style Neoclassical architecture in Milan Picturesque Colonial art Art of the African diaspora African-American Caribbean Haitian Colonial Asian art Arts in the Philippines Letras y figuras Tipos del País Colonial Asian Baroque Company style Latin American art Casta painting Indochristian art Chilote school Cuzco school Quito school Latin American Baroque Art borrowing Western elements Islamic Moorish Manichaean Mughal Qajar Qing handicrafts Western influence in Japan Akita ranga Uki-e Transition to modern (c. 1770 – 1862) Romanticism Fairy painting Danish Golden Age Troubadour style Nazarene movement Purismo Shoreham Ancients Düsseldorf school Pre-Raphaelites Hudson River School American luminism Orientalism Norwich school Empire style Historicism Revivalism Biedermeier Realism Barbizon school Costumbrismo Verismo Macchiaioli Academic art Munich school in Greece Neo-Grec Etching revival Modern (1863–1944) 1863–1899 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School Visionary art Vienna School of Fantastic Realism Spatialism Color field Lyrical abstraction Tachisme Arte Informale COBRA Nuagisme Generación de la Ruptura Jikken Kōbō Metcalf Chateau Mono-ha Nanyang Style Action painting American Figurative Expressionism in New York New media art New York school Hard-edge painting Bay Area Figurative Movement Les Plasticiens Gutai Art Association Gendai Bijutsu Kondankai Pop art Situationist International Soviet Nonconformist Ukrainian underground Lettrism Letterist International Ultra-Lettrist Florida Highwaymen Cybernetic art Antipodeans 1960–1969 Otra Figuración Afrofuturism Nueva Presencia ZERO Happening Neo-Dada Neo-Dada Organizers Op art Nouveau réalisme Nouvelle tendance Capitalist realism Art & Language Arte Povera Black Arts Movement The Caribbean Artists Movement Chicano art movement Conceptual art Land art Systems art Video art Minimalism Fluxus Generative art Post-painterly abstraction Intermedia Psychedelic art Nut Art Photorealism Environmental art Performance art Process art Institutional critique Light and Space Street art Feminist art movement in the US Saqqakhaneh movement The Stars Art Group Tropicália Yoru no Kai Artificial intelligence visual art 1970–1999 Post-conceptual art Installation art Artscene Postminimalism Endurance art Sots Art Moscow Conceptualists Pattern and Decoration Pliontanism Punk art Neo-expressionism Transavantgarde Saint Soleil school Guerrilla art Lowbrow art Telematic art Appropriation art Neo-conceptual art New European Painting Tunisian collaborative painting Memphis Group Cyberdelic Neue Slowenische Kunst Scratch video Transgressive Retrofuturism Young British Artists Superfiction Taring Padi Superflat New Leipzig school Artist-run initiative Artivism The Designers Republic Grunge design Verdadism Chinese Apartment Art Oscilloscope Music 2000– present Amazonian pop art Altermodern Art for art Art game Art intervention Brandalism Classical Realism Contemporary African art Africanfuturism Contemporary Indigenous Australian art Crypto art Cyborg art Excessivism Fictive art Flat design Corporate Memphis Hypermodernism Hyperrealism Idea art Internet art Post-Internet iPhone art Kitsch movement Lightpainting Massurrealism Modern European ink painting Neo-futurism Neomodern Neosymbolism Passionism Post-YBAs Relational art Skeuomorphism Software art Sound art Stuckism Superflat SoFlo Superflat Superstroke Toyism Vaporwave Walking Artists Network Related History of art Abstract art Asemic writing Anti-art Avant-garde Ballets Russes Christian art Art in the Protestant Reformation and Counter-Reformation Catholic art Icon Lutheran art Digital art Fantastic art Folk art Hierarchy of genres Genre painting History painting Illuminated manuscript Illustration Interactive art Jewish art Kitsch Landscape painting Modernism Modern sculpture Late modernism Naïve art Outsider art Portrait Prehistoric European art Queer art Realism Shock art Trompe-l'œil Western painting Category

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