Papers by Cornelis W. Neeft
R. Morais et alii, Greek Vases in Portugal II, 2022
Unlike the Lush Lotus Workshop (the other leading workshop of flat-bottomed aryballoi at the time... more Unlike the Lush Lotus Workshop (the other leading workshop of flat-bottomed aryballoi at the time), the Otterlo Workshop did not confine itself to florals and felines, but endeavoured in asuprising range of unusual subjects well. The protagonist here was the Wieler Painter, espedaLly in his mature oeuvre. The Lisbon aryballos, attributabLe to this painter, happens to shed Light on his formative stages, when humans are still rare. The Wieler Painter's rendering of human creatures, at first mainly fantasy ones (CorVP: 661), is very similar to the Otterlo Painter's practice, the only difference being in their eyes consisting in single circles, except for the Würzburg item (no. 16), probably due to its larger scale, and for the sphynx to right on the Antwerp piece (no. 11, Fig. 2left). a s As with the Otterlo Painter's works, the nostrils are rendered with both asmall vertical curl and ahook at first (nos. 2, 4, 7-9. 11-12, Figs. l:a, e, 2). In his late works (nos. 13-22), the nostrils loose their curly character due to the upper sides being horizontally prolonged, probably so underthe influence of the Borgia Painter's type. The hair at first has deep scallops (nos. 2, 4, 5, 9-10 [both right], 11-12, and the elaborate 16, 19. Figs. l;a, e, 2)-even a 'reversed wave' pattern on the heads to right of nos. 9(left)-10-the scallops soon loosing their depths (nos. 8-9 [both centre] 15 17-18). On the foreheads, abig, 'gelled' curl occurs at first (nos. 2, 4, 9sides, Figs. l:a, e. 3, and. in aflame-like miniature version' 11. Fig. 2), an encircled curl later on (nos. 9centre [Fig. 3], 10, 11 left [Fig. 2], 16, 21); afterwards, the curl dwindles into asimpler and generally sloppy, angular version (nos. 11 right [Fig, 2], 15, 17-18, 20). Also as with the Otterlo Painter's products, there idifferentiation as regards the ears of human heads to right and to left, each type having its proper development over time:
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RadioGraphics, 1999
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Kees Neeft, Thesmophoreia in Greek Colonies: Their Locations and Dates, in A.M. Jaia, C.M. Marchetti, V. Parisi, 'Ti dono Satyrion', in ricordo di Enzo Lippolis, Thiasos 16, Rome, 2021, 115-128
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Mélanges de l'Ecole française de Rome. Antiquité, 1981
Cornelis W. Neeft, Observations on the Thapsos class, p. 7-88. ; ; A. distinguishes five types of... more Cornelis W. Neeft, Observations on the Thapsos class, p. 7-88. ; ; A. distinguishes five types of decoration within the Thapsos class : a panel, tripartite, zone, simple, and an ornate type. Their chronology is discussed and the vases are argued to belong to the LG and EPC period. A few fore-runners of MG II date are noticed ; the simple type is shown to exist until c. 600 BC. The place of manufacture is discussed under the headings decoration, shape, fabric, and distribution. Arguments for a manufacture outside Corinth outweigh those in favour of Corinth, but no likely candidate can be pointed out. The question is still open. Various sites where Thapsos vases been found are discussed. A disaster (earthquake ?) is assumed c. 730 BC. to explain the unegual distribution of the class in Delphi.
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Bulletin de correspondance hellénique, 1989
Le Musee Canellopoulos possede onze aryballes de forme Protocorinthienne. Sur les dix aryballes s... more Le Musee Canellopoulos possede onze aryballes de forme Protocorinthienne. Sur les dix aryballes subgeometriques, trois appartiennent a la periode globulaire, un a la transition vers la forme ovoide, cinq a la forme ovoide et un au type piriforme. Un exemplaire a figures noires peut etre attribue au peintre de Braunsberg.
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Mélanges de l’École française de Rome. Antiquité, 2002
Pelagatti Paola, Di Marco Sylvia, Sourisseau Jean-Christophe, Fouilland Françoise, Neeft Cornelis... more Pelagatti Paola, Di Marco Sylvia, Sourisseau Jean-Christophe, Fouilland Françoise, Neeft Cornelis W., Cordano Federica, Verger Stéphane, Di Stefano Giovanni. Camarina (com. de Ragusa). In: Mélanges de l'École française de Rome. Antiquité, tome 114, n°1. 2002. Antiquité. pp. 541-558
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Recognized by Humfrey Payne as far back as 1931, the Sphinx Painter is considered one of the most... more Recognized by Humfrey Payne as far back as 1931, the Sphinx Painter is considered one of the most influential Corinthian artisans during the Transitional and Early Corinthian periods. The article tries to elucidate his position with the help of some new attributions and assess his debt to his predecessors and his influence on fellow craftsmen and successors.
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Papers by Cornelis W. Neeft