( fl c. 410–c. 390 BC). Greek vase painter. He is named after a large Attic Red-figure volute krater (Ruvo di Puglia, Mus. Jatta, 1501) depicting a rarely illustrated episode from the voyage of the Argonauts, the Death of the Bronze Giant Talos. The artist seems to have preferred such large vases, which he decorated with big figures in a florid style, employing much added white paint. The figures’ garments have elaborate patterns, favourite motifs including linked black palmettes, long black rays and waves; some vases have figural borders depicting battle scenes, Nikai, four-horse chariots and sphinxes. Musculature is carefully delineated and often shaded with dilute glaze to produce a strong sense of volume, while some heads are shown in three-quarter view. Garments are sometimes finely pleated in a mannered fashion. Beazley attributed only seven vases to the painter, but he apparently decorated at least four other extant specimens (U. Würzburg, Wagner-Mus., H 5708 a–e; Naples, Mus. Archeol. N., 2883; Rome, Villa Giulia, 2382; Potenza, Mus. Archeol. Prov., 54622). Apart from the story of Talos, the painter’s subject-matter includes Dionysos and Hephaistos Reclining under a Pergola, the Apotheosis of Herakles, Theseus and Peirithoos Sacrificing in the Presence of Helen, a remarkable Gigantomachy and warriors fighting on foot and on horseback: some scenes seem to be inspired by contemporary megalographic wall paintings (see GREECE, ANCIENT, §VI, 2). The artist’s own background is unclear, though his style may owe something to the Dinos Painter and the KADMOS PAINTER.

Part of the Vase painters family

• Talos Painter
  • Greece, ancient, §V, 6(i)(d): Attic Red-figure pottery: Late 5th century B