red-figure

Examples of red-figure in the following topics:

• Etruscan Ceramics

  • The Etruscans developed an imitative adoption of the red-figure technique (known as Pseudo-Red-Figure) around 490 BCE, nearly half a century after that style had been invented in Greece.
  • In true red-figure, the red areas were left free of slip.
  • In pseudo-red-figure painting, internal details were marked by incision, similar to the usual practice in black-figure vase painting, rather than painted on, as in true red-figure.
  • Even after true red-figure became the dominant style, some workshops continued to specialize in pseudo-red-figure painting into the fourth century BCE.
  • Only by the end of the fifth century BCE was the true red-figure technique introduced to Etruria.

• Ceramics in the Greek Archaic Period

  • Instead of painting a figure with black slip and using a burin to scrape away the slip to create details, red-figure painting has the background painted black and the figures left the red color of the terra cotta.
  • One side depicted the scene in black-figure and the other side depicted the scene in red-figure.
  • Euthymides is known as a pioneer of red-figure painting.
  • Red-figure side of a bilingual amphora.
  • Athenian Red-figure calyx krater.

• Ceramics in the Greek Early Classical Period

  • Red-figure painting continued to flourish during the Early, High, and Late Classical periods.
  • Their main characteristic is that they maintained features of black-figure vase painting in the red-figure technique.
  • Athenian red-figure calyx krater. c. 450 BCE.
  • Athenian red figure calyx krater. c. 450 BCE.
  • Attic red-figure bell krater. c. 500-490 BCE.

• Vase Painting in the Orientalizing Period

  • During the Orientalizing period in Corinth, human figures were rarely seen on vases.
  • The Corinthians developed the technique of black figure painting during this period.
  • Black figure pottery was carefully constructed and fired three different times to produce the unique red and black colors on each vase.
  • Additionally, red and white pigments could be added for more color or to differentiate details.
  • Unpainted portions of the vase would remain the original red-orange color of the pot.

• Painting in the Early Byzantine Empire

  • They were understood to manifest the unique “presence” of the figure depicted by means of a “likeness” to that figure maintained through carefully maintained canons of representation.
  • Red signifies divine life, while blue is the color of human life.
  • In icons of Jesus and Mary, Jesus wears a red undergarment with a blue outer garment (God as Human), and Mary wears a blue undergarment with a red outer garment (humanity granted divine gifts).
  • Christ, seated in the middle, wears a blue garment over a red one to symbolize his status as God made human.
  • All three figures wear wings to signify their roles as messengers.

• Sculpture of the Qin Dynasty

  • Other terracotta non-military figures were found in other pits, including officials, acrobats, strongmen and musicians.
  • The figures were painted in bright pigments before being placed into the vault, and the original colors of pink, red, green, blue, black, brown, white, and lilac were visible when the pieces were first unearthed.
  • The figures were constructed in several poses, including standing infantry, kneeling archers, and charioteers with horses.
  • Along with the colored lacquer finish, the individual facial features would have given the figures a realistic feel.
  • The terracotta army figures were manufactured in workshops by government laborers and local craftsmen using local materials.

• Mycenaean Ceramics

  • The figures are stocky and lack the sinuous lines of the painted Minoan figures.
  • Instead the figures remain static and upright.
  • A red band wraps around her head with bits of hair underneath.
  • The eyes and eyebrows are outlined in blue, the lips are red, and red circles surrounded by small red dots are on her checks and chin.
  • Mycenaean Phi Figures.

• Kuba

  • Tukula (called twool by the Kuba) is a red powder made of ground cam wood.
  • The color red is essential to the Kuba concept of beauty and was therefore used to ornament the face, hair and chest during dances and important ceremonies, as well as to anoint bodies for burial.
  • After 1700, King Misha mi-Shyaang a-Mbul introduced wooden sculptures called ndop figures that were carved to resemble the king and represent his individual reign.
  • These figures always included the king's ibol or personal symbol, akin to a personal standard.
  • A carved ndop figure of a Kuba king, believed to be among the oldest extant ndop carvings.

• Nayak Painting

  • Episodes from Hindu Puranas, Sthala-puranas, and other religious texts were visualized and painted with the main figure or figures placed in the central section of the picture, surrounded by several subsidiary figures, themes, and subjects.
  • The figures are static and often located inside decorated arches or curtains.
  • Eyes are broad and the outer lines are either brown or red, except for the god Krishna's eyes, which are depicted in blue.
  • They applied a mixture of chalk powder and African gum for an embossed look, and the painting was covered with gold foil and finished with dyes to color the figures.
  • The Nayaks issued coins made of gold and copper that featured figures of the king, animals, and Hindu gods and goddesses such as Shiva and Parvati.

• Minoan Painting

  • The Minoan color palette is based in earth tones of white, brown, red, and yellow.
  • While the different skin color of the figures may differentiate male (dark) and female (light) figures, the similarity of their clothing and body shapes (lean with few curves) suggest that the figures may all be male.
  • The figures participate in activity known as bull-leaping.
  • Sparrows, painted in blue, white, and red, swoop around the landscape.
  • Similar earth-tone colors are used, including black, white, brown, red, and blue.