Presentation
The exhibition MythoMania collects masterpieces of ceramic art from Magna Graecia, found during clandestine excavations in unknown locations in Apulia; they were illicitly exported and have turned up in various museums around the world.
Between the years 2009-2010, thanks to the commitment of the Command of Police (Carabinieri) for the protection of the Cultural Heritage, these orphan-objects returned home. Indeed, it has been demonstrated that the origins of this type of pottery are rooted in Taranto.
Loutrophoros depicting Pelops and Hippodamia - A sideMArTA - Museo Archeologico Nazionale di Taranto
Products for the Grave: the loutrophoros
The loutrophoros is an elongated vase, originally used to transport water for purifying baths (loutra) prior to a wedding. The specimen is attributed to the White Sakkos Painter (320–310 BC).
It features the hero Pelops racing his chariot against Oenomaus in order to win the hand of his daughter Hippodamia. Oenomaus challenged all his daughter’s suitors to a chariot race, and condemned them to death if they were defeated.
Instead, Pelops won the race by sabotaging Oenomaus’ chariot, causing his death. Hippodamia is shown leaving behind a ball of wool, a symbol of childhood games, and performing the gesture of unveiling of the bride in front of the groom.
Volute krater with a scene from the Underworld - A sideMArTA - Museo Archeologico Nazionale di Taranto
Products for the Grave: the krater
Previously preserved at the J. Paul Getty Museum in Malibu (USA), the monumental volute krater attributed to the workshop of the White Sakkos Painter (about 320 BC) shows a scene from the Underworld on the front side.
In the center, the lords of the kingdom of the dead are depicted seated inside their palace: Hades and his bride Persephone From the ceiling beams hang a shield, a pair of greaves, a cuirass and a helmet.
Some of the most famous inhabitants of the Greek Nether World are depicted around the palace: on the left there are Hermes and Hecate, on the lower part the Danaids, who killed their husbands, on the right there is Megara with her children, killed by Heracles and Orpheus, who descended into Hades for the love of Eurydice.
Pelike depicting Perseus and Andromeda - A sideMArTA - Museo Archeologico Nazionale di Taranto
The protagonists: the Darius Painter
The potters and painters who made and decorated Apulian vases, unlike their Athenian colleagues, did not sign their works. Therefore, we can only refer to them using nicknames based on what we know about them.
The Darius Painter, whose name derives from the representation of King Darius the Great of the Persia on a large volute krater preserved in the Naples National Archaeological Museum, was one of the most original and creative artists between 340 and 320 BC in Taranto.
The cultured and refined production of the Darius Painter and his circle features the usual mythological subjects, which are often reworked in unusual ways, but also attests the first appearance of historical themes.
Krater depicting the departure of Amphiaraus - A sideMArTA - Museo Archeologico Nazionale di Taranto
Mask-Handled Krater Featuring the Departure of Amphiaraus
This monumental mask-handled krater, now exhibited in the Room IX of the MArTA, was returned to Italy in 2009 following an agreement with the Cleveland Museum of Art (USA), where the work had been kept.
Dated to about 330 BC, the main side of the krater depicts the Argive seer Amphiaraus climbing armed into his quadriga to leave for the expedition of the Seven Against Thebes.
Amphiaurus foresaw the fatal outcome of the expedition but was forced to participate by his wife, Eriphyle. A winged Fury embodies the madness and the guilt that will torment Alcmaeon following his matricide.
In the far left of the lower register, his young son Alcmaeon raises his hand to his forehead in a gesture of affliction, foreshadowing his own tragic fate: he murdered his own mother to fulfill an oath of vengeance given to his father.
Krater depicting the departure of Amphiaraus - B sideMArTA - Museo Archeologico Nazionale di Taranto
The reverse side of the krater shows the deceased, dressed in local costume, inside a naiskos.
Dinos with the myth of Hercules and Busiris - A sideMArTA - Museo Archeologico Nazionale di Taranto
Dinos with Heracles and Busiris attributed to Darius Painter
This dinos, a vase with a circular body used at symposiums, depicts the myth of Busiris. The cruel king of Egypt, following the advice of the oracle, adopted a barbaric custom of sacrificing every foreigner who dared to venture into his kingdom.
Dinos with the myth of Hercules and Busiris - B sideMArTA - Museo Archeologico Nazionale di Taranto
He was in turn killed by Heracles, who had been captured by Busiris and destined for sacrifice. A series of attendants carry the paraphernalia for the sacrifice.
Dated to 340–320 BC, this dinos was kept at the Metropolitan Museum of Art in New York City (USA).
Volute krater with a scene from the Underworld - B sideMArTA - Museo Archeologico Nazionale di Taranto
The protagonists: the White Sakkos Painter
The White Sakkos Painter is an Apulian master who flourished between 320 and 310 BC, in northern Apulia. The name given to him derives from the Greek term for the white cap (sakkos), which holds back the hair of many female characters in his works.
Volute krater with Achilles and Phoenix - A sideMArTA - Museo Archeologico Nazionale di Taranto
Volute Krater With Achilles and Phoenix
This monumental volute krater attributed to the White Sakkos Painter, previously preserved at the J. Paul Getty Museum in Malibu (USA) shows, on the main side, a scene from the Homeric epics. Phoenix, the old king of Dolopia and tutor of Achilles, goes into the tent of the Achaean hero to try to convince him to return to the fight.
Volute krater with Achilles and Phoenix - B sideMArTA - Museo Archeologico Nazionale di Taranto
The hero’s abode is depicted as a naiskos with four pillars in which arms and armour hang from the ceiling. The secondary side depicts the deceased inside the naiskos, while a young cupbearer pours wine into a phiale (cup) for the funeral libation.
Pelike depicting Perseus and Andromeda - A sideMArTA - Museo Archeologico Nazionale di Taranto
The Myth of Andromeda
According to myth, Andromeda was the daughter of Cepheus and Cassiopeia, rulers of Aethiopia. Her mother aroused the ire of the sea god Poseidon by claiming to be more beautiful than the Nereids. Poseidon unleashed a sea monster (Cetus), who ravaged the shores of her kingdom.
Loutrophoros depicting Perseus and Andromeda - A sideMArTA - Museo Archeologico Nazionale di Taranto
An oracle informed them that the only way to put an end to this scourge was to tie the princess to a cliff and offer her as a sacrifice to the monster.
The hero Perseus rescued Andromeda from this terrible fate. He fell in love with the girl and asked Cepheus for her hand in marriage in exchange for killing Cetus.
Volute krater depicting the liberation of Andromeda - A sideMArTA - Museo Archeologico Nazionale di Taranto
The MythoMania exhibition has brought together three vases, which represent the salient moments of this story, made famous by the tragedy by Euripides. These vases are precious witness to the relationship between Magna Graecia and the Greek theatre.
Volute Krater Attributed to the Sisyphus Painter
This krater depicting Andromeda being tied to two poles by a young man is attributed to the most ancient period of Apulian ceramic production (around 410–400 BC).
On the right, Perseus, wearing the winged sandals and Hades’ Helm of Darkness, which allowed him to turn invisible, makes a pact with the elderly king Cepheus, who promises his daughter’s hand in marriage in exchange for her rescue.
Loutrophoros depicting Perseus and Andromeda - A sideMArTA - Museo Archeologico Nazionale di Taranto
Loutrophoros attributable to the Metope Group
This vase, dated to about 340–330 BC, shows on its front the most dramatic moment in the myth of Andromeda. The Aethiopian princess, tied to a cliff, is saved by Perseus, who is depicted fighting Cetus.
The image of Eros on the monster’s back, prefigures the marriage between Perseus and Andromeda as the happy end of the story.
Loutrophoros depicting Perseus and Andromeda - B sideMArTA - Museo Archeologico Nazionale di Taranto
This image, in conjunction with the offering to the tomb depicted on the reverse side of the vase, suggests a metaphorical representation of the hope of reaching a happy existence in the afterlife.
Pelike depicting Perseus and Andromeda Pelike depicting Perseus and Andromeda (340-330 BC circa) by Darius PainterMArTA - Museo Archeologico Nazionale di Taranto
Pelike attributed to the Darius Painter
This vase, attributed to the workshop of the most prominent Apulian painter, from the late period has been recomposed from numerous fragments and is a rare example of a depiction of Andromeda’s reconciliation with her parents.
After the monster threatening her was killed, the Aethiopian princess could not immediately marry her savior due to the opposition of her father, Cepheus. He is depicted on the right, where a servant restrains him from lashing out at Perseus.
Andromeda looks down at her mother, Cassiopeia, who kneels at her feet to beg for forgiveness.
Eros, Aphrodite and Homonoia, prefigure the positive outcome of the story: the princess marries Perseus and they have many children together.
This virtual exhibition aims to glue back together the broken stories to which these objects bear witness by reconstructing the cultural context behind the production, circulation and use of Apulian vases.
It is only by drawing on this context that the images painted on the vases can once more tell their stories: these “rediscovered stories of men and heroes” are told in the language of myths as a tool for sharing values and identities.
