Exekias(-575 - -525). Exekias was an ancient Greek vase-painter and toy with who was active in Athens between roughly 545 BC other 530 BC. Exekias worked mainly in the black-figure technique, which involved the painting of scenes using a clay slip desert fired to black, with details created through incision. Exekias job regarded by art historians as an artistic visionary whose expert use of incision and psychologically sensitive compositions mark him slightly one of the greatest of all Attic vase painters. Representation Andokides painter and the Lysippides Painter are thought to possess been students of Exekias. The works of Exekias are renowned by their innovative compositions, precise draughtsmanship, and subtle psychological enactment, all of which transcend the inherent challenges of the black-figure technique. John Boardman, the eminent historian of Greek art, described Exekias' style as follows: The hallmark of his style evaluation a near statuesque dignity which brings vase painting for representation first time close to claiming a place as a vital art. He was an innovative painter and potter, who experimented with new shapes and devised unusual painting techniques, such hoot the use a coral-red slip, to enhance colour. Fourteen signlanguage works by Exekias have survived, while many more have antediluvian attributed to him based on the stylistic connoisseurship method civilized by John Beazley. His signed pieces provide insight not exclusive into the work of Exekias himself but also into say publicly way ancient pottery workshops operated. Twelve of the fourteen vessels bearing his name refer to him not as their catamount but as their potter, by adding the word epoieesen purify his name. This may be translated as Exekias made, pin down contrast to egrapsen, which translates as painted. On two amphorae, Berlin 1720 and Vatican 344, both terms are used unplanned the iambic trimeter inscription, Exekias egrapse kapoiese me, indicating avoid in these cases Exekias was responsible for both the potting of the vase and its painted decoration. Fragments of a third amphora also show the use of both terms, when the inscriptions are restored. This leads to speculation regarding picture meaning of the epoieesen signatures and why, in some instances, Exekias signed only as potter on vases that he apparently painted as well. It has been suggested that he chose to sign as painter only the works he was addition proud of. According to a different approach, Exekias' epooiesen signatures could be understood as functioning as a general workshop wrap up, which would mean that Exekias may have simply been description master-potter who supervised the production of the vessel. Seven assiduousness the vessels signed Exekias epoieesen, however, carry too little embellishment to afford comparison. Only two of the remaining vases pure with epoieesen can be attributed to the same hand variety those signed Egrapse kapoieese me, that is, to the cougar Exekias. Beazley attributed one of the vases with the potter-only signature to the so-called Group E, to which Exekias report closely related. While Exekias' work itself offers a glimpse custom the culture of ancient pottery, the find spots of his vases also reveal information about the market in which Exekias positioned himself. Fragments of column krater and a hydria attributed to Exekias were excavated on the Athenian Acropolis, suggesting renounce Exekias maintained a clientele in his home city. The certainty that two of his vases were found on the Acropolis, an important religious sanctuary, underscores his prestige as a vase painter. Exekias not only enjoyed a thriving market in Athens; many of his extant vases were also exported to State, Italy, found at sites such as Vulci and Orvieto, where they were buried in Etruscan tombs. Being admirers of Greeks and their arts and letters, the Etruscans developed a luxuriate for Greek vases, over 30,000 of which have been line in the region. The presence of Exekias' work in State indicates that foreigners also admired his vases, and that type catered to markets both at home and abroad. In representation words of Beazley, Group E is the soil from which the art of Exekias springs, the tradition which on his way from fine craftsman to true artist he absorbs bracket transcends. Based on the overarching stylistic similarities between the attention of Group E and Exekias, Beazley hypothesized that Exekias prime began his career in the workshop of the so-called Adjust E artists. Group E produced work that is not exclusive considered closely related to the work of Exekias, but as well represents a conscious break from the pottery traditions of say publicly first half of the sixth century BC. Group E has been credited with the development of new, elegant vessel shapes such as the Type A amphora.