Leagros Group. The Leagros Group was a group of Attic black-figure vase painters active during the last two decades of the 6th century BC. The name given to the group by modern scholars is a conventional one, derived from a series of name vases.
The Leagros Group was the final important group of Attic vase painters in the black-figure style to paint large-format images on vases. Their significance is so great that their time of activity is also known as the Leagros period.
About 400 vases are ascribed to the group; most of them are hydria I and neck amphorae, constituting about half of the group's surviving products. Additionally, they painted other types of amphorae, kraters, lekythoi, and, in small amounts, some other shapes.
The group's conventional name is derived from five vases with kalos-inscriptions mentioning the ephebe Leagros. Hydriai by the group resemble those by the Antimenes Painter, feature more widely flayed lips and shallower broader shoulders.
The earlier animal frieze predellas and frame lines decorated with ivy leaves are now replaced by palmettes with broad separate leaves. They are organised in rounded loops. Such patterns are rare in black-figure vase painting, but very popular in the red-figure style contemporary with the Leagros Group. At times, the Leagros Group painters used the white-ground technique on the necks of their amphora, again a feature introduced by the
The Leagros Group was the final important group of Attic vase painters in the black-figure style to paint large-format images on vases. Their significance is so great that their time of activity is also known as the Leagros period.
About 400 vases are ascribed to the group; most of them are hydria I and neck amphorae, constituting about half of the group's surviving products. Additionally, they painted other types of amphorae, kraters, lekythoi, and, in small amounts, some other shapes.
The group's conventional name is derived from five vases with kalos-inscriptions mentioning the ephebe Leagros. Hydriai by the group resemble those by the Antimenes Painter, feature more widely flayed lips and shallower broader shoulders.
The earlier animal frieze predellas and frame lines decorated with ivy leaves are now replaced by palmettes with broad separate leaves. They are organised in rounded loops. Such patterns are rare in black-figure vase painting, but very popular in the red-figure style contemporary with the Leagros Group. At times, the Leagros Group painters used the white-ground technique on the necks of their amphora, again a feature introduced by the
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