THE ADONIS PAINTER: A FALISCAN RED-FIGURE PAINTER AND HIS GROUP

Abstract

The first phase of the Faliscan red-figure production dates from the beginning of
the 4th century B.C. with the migration of Attic craftsmen, and probably came to an end
around the middle of the century, accompanied by an undeniable decline in quality, a
reduction in the number of shapes, and a simplification of the iconographic repertoire.
Following the fundamental work of J.D. Beazley1, the failure to publish comprehensive
studies based on stylistic analyses, such as those by K. Deppert and B. Adembri2, has led
to a general limitation of known specimens and painters. Furthermore, studies dedicated to the analysis and evolution of the entire iconographic apparatus and its meaning within the society are not yet available3.

In the study here presented, the artistic personality of a painter whose work has not
yet been clearly defined, even though he is author of one of the finest surviving vases of
the first period of the Faliscan production, is identified through a series of attributions. By
identifying his group, related to the same sphere as that of the well-known Diespater and
Aurora Painters, one of the most prolific periods of this important red-figure workshop is
thus outlined with greater clarity.