Lysippides Painter (c-560 - c-500). The Lysippides Painter was an Attic vase painter in the black-figure style. He was active around 530 to 510 BC. His real name is not known. His conventional name is derived from a kalos inscription on a neck amphora in the British Museum. He is considered the most significant pupil of Exekias, from whom he adopted not only his artistic style but also some important motifs, such as Ajax and Achilleus playing a board game. He also frequently painted scenes involving the hero Herakles. In total, about 30 known vases are ascribed to him. His collaboration with the Andokides Painter, usually considered the inventor of red-figure vase painting is unusual. On seven bilingual vases, six belly amphorae and a cup, he painted the red-figure side, while the Andokides Painter was responsible for the black-figure one. At times, the subjects painted by both are identical. It remains disputed amongst scholars whether both painters are identical and merely represent one artist using both techniques. Already John Beazley saw them as separate artists, an argument later developed by Beth Cohen and Heide Mommsen. The identity of the two painters is supported by Konrad Schauenburg, Herbert Marwitz and John Boardman. Martin Robinson and others remained undecided. The Lysippides Painter's works consisted of many neck-amphorae that were based on the works of Exekias, his mentor. Lysippides' works however, were simplified compared to those of Exekias. This style actually became very popular in the Archaic Period. Especially showing in the late 6th century and early 5th as his neck-amphorae stand on the front lines of a series of vases. Many of his works were extremely similar to Exekias. A vase in Detroit depicts the mythical Greek hero, Herakles wrestling a lion. This depiction takes after a neck-amphorae version done by Exekias in multiple ways. While there is no saying that Lysippides is the painter, the vase is grouped with his work stylistically in the way it takes after Exekias and that the work narrows all the attention on Herakles' role in the battle rather than the lion's. These elements are strongly associated with the work of the Lysippides Painter. Like most artists during this time, his work contained many religious references of Greek gods and goddesses in his work. Herakles being one of the more popular. Bologna, Museo Civico Archeologico. bilingual belly amphora 151 Front: Dionysos between maenad and satyrs, back: Herakles and the Nemean Lion Boston, Museum of Fine Arts. bilingual belly amphora 99.538 Front and back: Herakles and the Cretan bull bilingual belly amphora 01.8037 Front and back: Achilles and Ajax playing a board game London, British Museum. bilingual belly amphora B 193 Front: Herakles and the Neman Lion between Athena and Iolaos, back: Ajax and Achilles playing a board game Munich, Staatliche Antikensammlungen. bilingual belly amphora 2301 Front and back: Herakles at the symposion Paris, Louvre. bilingual belly amphora F 204 Front: Herakles and Kerberos, back: Dionysos with kantharos between maenad and satyrs Bonn, Akademisches Kunstmuseum. belly amphora 62b Cambridge, Fitzwilliam Museum. eye-cup GR 12.1937 Front: Dionysos with Kantharos between two satyrs, back: Herakles and Kyknos, interior: gorgoneion London, British Museum. neck amphora B 211 eye-cup B 426 oinochoe B 492 Malibu, J. Paul Getty Museum. psykter 96.AE.94 Moscow, Pushkin Museum. belly amphora II 1 B 70 Munich, Staatliche Antikensammlungen. neck amphora 1478 neck amphora 1575 eye-cup 2080 Front: Herakles and Apollo fighting over a tripod, back: Herakles and the Nemean lion, Interior: gorgoneion Oxford, Ashmolean Museum. neck amphora 208 belly mphora 1965.100 Palermo, Museo Archeologico Regionale. bilingual eye-cup V 650 warriors and archers Paris, Louvre. hydria F 294 Athena mounting a chariot in the presence of Herakles, Dionysos, Apollon and Hermes Pregny, Baron E. de Rothschild. belly amphora Rome, Museo Nazionale Etrusco di Villa Giulia. belly amphora 24998 Zurich, University. neck amphora ETH 7 John Beazley: Attic Black-figure Vase-painters. Oxford 1956, p. 253-257. Herbert Marwitz: Zur Einheit des Andokidesmalers, in: Jahreshefte des Österreichischen Archäologischen Institutes 46, 1961-63, p. 73-104. Elfriede R. Knauer: Die Berliner Andokides-Vase, Werkmonographien zur Bildenden Kunst in Reclams Universal-Bibliothek 103, Stuttgart 1965. John Beazley: Paralipomena.