Name vase in the context of "Classical archaeology"

The Triptolemos Painter was an ancient Greek vase painter, belonging to the Attic red-figure style. He was active in Athens between 490 and 470 BC. His real name is not known. He started working in the workshop of Euphronios, where he was probably taught by Douris. Later, he also worked for the potters Brygos, Hieron and Python. Initially, his style was strongly influenced by Archaic art. His later works are mediocre in quality. Nonetheless, his repertoire is broad, reaching from the Apaturia procession via erotic scenes and Theban scenes to the departure of Triptolemos (his name vase).

Wedding Painter is the conventional name for an ancient Greek vase painter active in Athens from circa 480 to 460 BC. He painted in the red-figure technique. His name vase is a pyxis in the Louvre depicting the wedding of Thetis and Peleus.

The Sappho Painter was an Attic black-figure vase painter, active c. 510–490 BCE.

The artist's name vase is a kalpis depicting the poet Sappho, currently held by the National Museum, Warsaw (Inv. 142333). The hand of the Sappho Painter has been identified on 95 vessels, 70% of which are lekythoi. Their work has also been identified on tomb wall slabs and epinetra.

The Rider Painter was a Laconian vase painter active between 560 and 530 BC. He is considered one of the five great vase painters of Sparta.

His name is unknown, but he is called the Rider Painter after the horseman depicted on his name vase at the British Museum. He painted various shapes, including lebetes, a rare shape in Sparta, but predominantly kylikes. He primarily produced for export, as indicated by the fact that one of his works has so far been discovered in Laconia. His workshop cannot be located, but was perhaps in a perioikic settlement. Since identifiable painting styles and peculiarities in vase shapes tend to be consistent, it is assumed that the Rider Painter, like other Laconian vase painters, was both potter and painter. He is considered somewhat inferior in talent to the other four great Laconian vase painters. He mainly depicted scenes from Greek mythology, such as the blinding of Polyphemus, Kadmos or Herakles. Other motifs include scenes from everyday life, such komasts or the eponymous rider.

The Chigi vase is a Proto-Corinthian olpe, or pitcher, that is the name vase of the Chigi Painter. It was found in an Etruscan tomb at Monte Aguzzo, near Veio, on Prince Mario Chigi's estate in 1881. The vase has been variously assigned to the middle and late Proto-Corinthian periods and given a date of c. 650–640 BC; it is now in the National Etruscan Museum, Villa Giulia, Rome (inv. No.22679).

The vase stands 26 cm (10.2 inches) tall, which is modest compared to other Greek vases. Some three-quarters of the vase is preserved. It was found amidst a large number of potsherds of mixed provenance, including one bucchero vessel inscribed with five lines in two early Etruscan alphabets announcing the ownership of Atianai, perhaps also the original owner of the Chigi vase.

In art history, a Notname (German: [ˈnoːtˌnaːmə] , "name of necessity" or "contingency name") is an invented name given to an artist whose identity has been lost. The practice arose from the need to give such artists and their typically untitled or generically titled works an acceptable if unsatisfactory grouping to avoid confusion when cataloging.

The phrases provisional name, name of convenience, and emergency names are sometimes used to describe anonymous masters. Nonce name was at one time used.

The Painter of Munich 1410 was an Attic black-figure vase painter, active in the third quarter of the sixth century BC. His real name is not known. He was one of the late representatives of the black-figure style, which was in its final phase due to the introduction of red-figure vase painting. His conventional name is derived from his name vase, on display in the Staatliche Antikensammlungen at Munich (inventory 1410). Although he is not considered an outstanding artist, some notable works are ascribed to him.

The Meleager Painter was an ancient Greek vase painter of the Attic red-figure style. He was active in the first third of the 4th century BC. The Meleager Painter followed a tradition started by a group of slightly earlier artists, such as the Mikion Painter. He is probably the most important painter of his generation. He painted a wide variety of vase shapes, including even kylikes, a rarity among his contemporaries.

His conventional name is derived from several vases depicting hunters, including Atalante and her lover Meleagros. Colonette kraters and bell kraters by him normally bear Dionysiac motifs. Like other painters of his time, he liked to paint figures wearing oriental garb. The tondos inside his kylikes are often framed by wreaths. They mostly depict groups of deities or individual gods. The outsides of kylikes and the paintings on the backs of other vases by him are often of inferior quality.

The Shuvalov Painter was an Attic vase painter of the red-figure style, active between 440 and 410 BC, i.e. in the High Classical period (Parthenon period) in Magna Graecia.

The Shuvalov painter's conventional name was allocated by John Beazley, who chose for a name vase an amphora that is now at the Hermitage Museum, St. Petersburg. It had been acquired in the eighteenth century by the collector Ivan Ivanovich Shuvalov.