Ces longs dimanches après-midis... Le Peintre de la Croix de lotus en Étrurie

Abstract

This paper revisits the vases attributed to and around the Lotus-Cross Painter and intends to give a new apprehension
of this hand. The reconsideration of previously published finds proves that the Painter of Louvre E 649 is identical to
the Lotus-Cross Painter and helps in the clarification of hands working around this painter. The Lotus-Cross Painter
is apprehended as a potter-painter and a specialist of red-ground globular oinochoai. As a result of this investigation
several phases of his stylistic development can also be distinguished. The distribution of his vases suggests special ties to
Etruria, especially to Cerveteri highlighting the particular position of the city in the import of Corinthian pottery into
Etruria and revealing a particular local demand answered by the Lotus-Cross Painter. The examination of other hands
classed around him by D.A. Amyx yielded also interesting results. One of them is identified with the Dionysios Painter.
The unity of the secondary decoration and the stylistic relationships between the Lotus-Cross, the Dionysios Painter
and other vase painters around them, such as the Brommer Painter (?) allow the reconstruction of a workshop specialized
in red-ground vases, mainly globular oinochoai and trefoil olpai. In this workshop we can distinguish two main
painters: the Dionysios Painter and the Lotus-Cross Painter. They represent two main streams within the workshop.
The Dionysios Painter seems to be more skilled and worked in a very fine, decorative style. Around this personality
several fine olpai can be grouped. The Lotus-Cross Painter represents a plainer style with some close followers around
him – for ex. the Brommer Painter (?) –. Other works from this workshop attest the influence of both painters.