A loutrophoros (Ancient Greek: λουτροφόρος, romanized: loutrophóros, lit. 'loutrophoros'; Greek etymology: λουτρόν/loutron and φέρω/pherō, English translation: "bathwater" and "carry") is a distinctive type of Greek pottery vessel characterized by an elongated neck with two handles. The loutrophoros was used to carry water for a bride's pre-nuptial ritual bath, and in funeral rituals, and was placed in the tombs of the unmarried. The loutrophoros itself is a motif for Greek tombstones, either as a relief (for instance, the lekythos on the Stele of Panaetius) or as a stone vessel. There are many in the funeral area at the Kerameikos in Athens, some of which are now preserved in the National Archaeological Museum of Athens.
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👉 Loutrophoros in the context of Varrese Painter
The Varrese Painter was an Apulian red-figure vase painter. His works are dated to the middle of the 4th century BC.
His conventional name is derived from the Varrese hypogeum (a rock-cut grave complex) at Canosa di Puglia, which contained several vases painted by him. In total, over 200 known vases are attributed to him. Scholars consider him one of the most important representatives of his period. His influence extended beyond his immediate surroundings and beyond his own phase of activity, as far as the immediate predecessors of the Darius Painter. A quarter of the vases attributed to him, including hydriai, nestorids, loutrophoroi and a large oenochoe are of considerable size. The rest if his work is mainly on bell kraters and pelikes. Although he belongs to the tradition of the Ornate Style, his smaller vessels are often stylistically close to the Plain Style.
In this Dossier
Loutrophoros in the context of Orientalizing period
The Orientalizing period or Orientalizing revolution is an art historical period that began during the later part of the 8th century BC, when art of the Eastern Mediterranean and the Ancient Near East heavily influenced nearby Mediterranean cultures, most notably Archaic Greece. The main sources were Egypt, Phoenicia, Syria, and Assyria. With the spread of Phoenician civilization by Carthage and Greek colonisation into the Western Mediterranean, these artistic trends also influenced the Etruscans and early Ancient Romans in the Italian peninsula.
Loutrophoros in the context of Campanian vase painting
Campanian vase painting is one of the five regional styles of South Italian red-figure vase painting fabricated in Magna Graecia. It forms a close stylistic community with Apulian vase painting.
Campania produced red-figure vases in the 5th and 4th centuries BC. The sand-coloured to light brown clay (lighter than other South Italian clays) of Campania was covered with a slip that developed a pink or red tint after firing, creating an appearance very similar to that of Attic vases. The popular white or bright paints were visually especially striking on this. Women are usually by the use of white paint to depict their skin. The Campanian painters preferred smaller vessel types, but also hydriai and bell kraters. The most popular shape is the bail-amphora. Many typical Apulian vessel shapes, like volute kraters, column kraters, loutrophoroi, rhyta and nestoris amphorae are absent, pelikes are rare. The repertoire of motifs is limited. Subjects include youths, women, thiasos scenes, birds and animals, and often native Samnite warriors. The backs often show cloaked youths. Mythological scenes and depictions related to burial rites play a subsidiary role. Naiskos scenes, ornamental elements and polychromy are adopted after 340 BC under Lucanian influence. The bell-shaped flowers used as ornaments are very different from the ornaments used in other South Italian styles. At 4,000 known vases, the Campanian style is the second most common in the region (after Apulian).
Loutrophoros in the context of Baltimore Painter
The Baltimore Painter was an Apulian vase painter whose works date to the final quarter of the 4th century BC. He is considered the most important Late Apulian vase painter, and the last Apulian painter of importance. His conventional name is derived from a vase kept at the Walters Art Museum in Baltimore.
The Baltimore Painter's early work was strongly influenced by the Patera Painter. He mainly painted large format volute kraters, amphorae, loutrophoroi and hydriai. It is likely that his workshop was at Canosa.
Loutrophoros in the context of Analatos Painter
The Analatos Painter was an Attic vase painter of the Early Proto-Attic style.
The name of the Analatos Painter is derived from the central Attic area of Analatos (today Nea Smyrni), where several of his works have been excavated. His name vase is a hydria. His period of activity is estimated to be similar to that of the Mesogeia Painter, between c. 700 and 675 BC. It is possible that the Analatos Painter was also a potter.