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Group E
( fl mid-6th century BC). Greek vase painters. Approximately 100 Attic Black-figure vases are attributed to this group, which J. D. Beazley, its creator, described as ‘large and compact’ (Beazley, 1931/2). The ‘E’ stands for ‘Exekianizing’, because the Group’s work anticipated EXEKIAS. Beazley’s three lists of Group E vases differ, however, in their degree of ‘connection with Exekias’. The first (1931/2) contains 42 examples, many so coherent in shape, subject-matter and style that they may be by one man. The most popular vases are Type B amphorae, large vessels with panels depicting the Group’s recurrent themes: Herakles and the Lion, Theseus and the Minotaur, the Birth of Athena and scenes with chariots in frontal view. Most of the paintings are in a style that, though sober and technically competent, is rather loose and sketchy. Some of the finer paintings, however, combine technical control with an elegance and restraint that clearly anticipate Exekias. The finest of these is a well-shaped amphora (Paris, Louvre, F53), painted with an exacting, almost Exekian touch. Its chariot scene features horses with a bearing and style foreshadowing those of Exekias, and two have names that Exekias gave to his thoroughbreds. Though the reverse of the vase was actually signed by Exekias as potter, and the whole piece surpasses the rest in technical refinement and proximity to Exekias, Beazley was cautious about attribution of the paintings. He concluded simply that most of the first list was by one painter and that Louvre F53 ‘and group E or part of it’ might eventually prove to be ‘early work of Exekias himself’. In Beazley’s second list (1956) of 71 Group E vases some of the new examples clearly resemble Exekias’ work; others do so only vaguely. Finally, many of the newcomers on Beazley’s third list (1971) of 90 vases have no significant ties with Exekias at all. Several of these (e.g. the pointed neck amphora; Beazley, 1971, p. 57, no. 58ter) are so unlike Exekias’ work that Beazley may simply have been using Group E as a repository for unattributed mid-6th-century BC vases. Two works ascribed to the group since Beazley’s death do, however, vindicate his early hopes. On an amphora (Toledo, OH, Mus. A., 80.1022) signed by Exekias as potter, one of the careering chariots is driven by Anchippos, which is the name of the mounted hoplite on Louvre F53, and the other’s exquisite horses include one named Kalliphoras, as on Louvre F53 and on several vases painted by Exekias. An eye cup (New York, Met., L.1981.145) is still more evocative of Exekias, foreshadowing his famous Dionysos cup (Munich, Staatl. Antikensamml., 2044), with its decorative eyes, nose and eyebrows on either side, and battling warriors around the handles.
Part of the Vase painters family
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