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About This Artwork
Oinochoe (Pitcher), about 440 BC
Terra-cotta, decorated in the red-figure technique
H. 19.3 cm (7 5/8 in.) diam. 13.7 cm (5 3/8 in.)
Gift of Martin A. Ryerson through The Antiquarian Society, 1907.12
Below the pouring spout of this shiny black vessel is a youthful musician holding a seven-stringed lyre, its sound box rendered to look like tortoiseshell. The plectrum, or pick, is tied to the lowermost of the instrument’s two upright bars. A himation, or mantle, falls from his left shoulder. Unusually, he wears leggings. The wreath encircling his head is a common accessory of symposium attendees. Perhaps he has or will perform for the gathering of men.
—Permanent collection label
The Art Institute of Chicago, Form and Function, March 3, 1986-October 8, 1986.
The Art Institute of Chicago, The Human Figure in Greek and Roman Art: From the Permanent Collection (Part 2)," Gallery 120A, January 13, 1989-February 21, 1990.
The Art Institute of Chicago, Ancient Art Galleries, Gallery 155, April 20, 1994 - February 6, 2012.
The Art Institute of Chicago, Of Gods and Glamour: The Mary and Michael Jaharis Galleries of Greek, Roman, and Byzantine Art, Gallery 151, November 11, 2012 - July 17, 2015.
The Art Institute of Chicago, Dionysos Unmasked: Ancient Sculpture and Early Prints," Gallery 150 and 154, July 31, 2015 - February 15, 2016.
The Art Institute of Chicago, Of Gods and Glamour: The Mary and Michael Jaharis Galleries of Greek, Roman, and Byzantine Art, Gallery 151, February 26, 2016 - present.
Karen B. Alexander, "From Plaster to Stone: Ancient Art at the Art Institute of Chicago," in Recasting the Past: Collecting and Presenting Antiquities at the Art Institute of Chicago, by Karen Manchester, (Art Institute of Chicago/Yale University Press, 2012), p. 38.
A. Lezzi-Hafter, Der Schuwalow-Maler (Mainz 1976), p. 102 no. N 1, pl. 78.
J.D. Beazley, Attic Red-Figure Vase Painters, (Oxford: The Clarendon Press, 1963), p. 632, No. 2.
W. Fröhner, Collection van Branteghem: Vases peints et terre cuites antiques (Paris 1892), no. 93.