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Terracotta fragment of a kylix (drinking cup)

Makron

500–480 BCE

Terracotta fragment of a kylix (drinking cup) by Makron

Medium

Terracotta

Classification

Vases

Culture & Period

Greek, Attic · Archaic

Department

Greek and Roman Art

Museum

Metropolitan Museum of Art, New York, NY

Credit

Gift of Dietrich von Bothmer, Distinguished Research Curator, Greek and Roman Art, 2011

Accession Number

2011.604.1.7231

Rights

Public Domain

Art Historical Context

This exquisite terracotta fragment from a kylix, or shallow drinking cup, comes from the workshop of Makron, one of the most prolific and skilled Attic vase painters of the late Archaic period500–480 BCE). Created ancient Athens, it exemplifies the height of Greek pottery artistry during a time when the city was a cultural powerhouse, bridging the Archaic and Classical eras. Makron, active around 490–480 BCE, specialized in red-figure technique, where figures were outlined in black slip on the natural red clay, allowing for intricate details in anatomy, drapery, and expression—revolutionary for its time. Kylikes like this one were essential to the Greek symposium, an elite social gathering for drinking, philosophizing, and entertainment. Often decorated with scenes of myth, daily life, or revelry, they turned functional objects into storytelling canvases. Though only a fragment survives, it hints at Makron's masterful compositions, likely featuring dynamic figures that brought these vessels to life. The terracotta medium, fired in kilns to achieve its glossy black glaze, underscores the technical prowess of Attic potters, whose wares were prized across the Mediterranean. Generously gifted to the Metropolitan Museum of Art in 2011 by Dietrich von Bothmer, this piece invites us to imagine the lively symposia of ancient Greece, where art and ritual intertwined.

About the Artist

Makron

Makron stands as one of the most prolific masters of Attic red-figure vase painting, active in Athens around 490–480 BC during the late Archaic to early Classical transition.) Little is known of his early life or formal training, as such details remain undocumented for many ancient potters and painters of this era. Exclusively employing the red-figure technique—which allowed for intricate detailin...

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