Papers by Magali Ramon Ribaud
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Quand on a la terre sous l'ongle, le modelage dans le monde grec antique, 2022
A Corinthian black-figured oinochoe, attributed to the Tydeus painter, is one of the rare testimo... more A Corinthian black-figured oinochoe, attributed to the Tydeus painter, is one of the rare testimonies of the added decors modelled by the Corinthian potters in the middle of the 6th century B.C. The comparative study of its plastic decorations, lion protome and snakes crowling along the rim, allowed us to situate it amongst the contemporary production, firstly because of the few known vases with plastic enrichment, but also with respect to metal production. Thus, we are able to prove that the oinochoe, despite its connection points with bronze vases, is not an imitation but indeed a potter’s creation made in an environment where patterns and ideas circulate between different craftsmen, potters, coroplasts, bronze workers.
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Les etudes comparatives des productions de ceramiques archaiques d’Athenes et de Corinthe ont tou... more Les etudes comparatives des productions de ceramiques archaiques d’Athenes et de Corinthe ont tout d’abord ete menees du point de vue de l’influence unilaterale de l’une des cites sur l’autre. Depuis les annees 80, les chercheurs se sont orientes vers des comparaisons specifiques, visant a mettre en evidence l’existence de similitudes entre les productions des deux cites. Nous nous inscrivons dans cette dynamique de prise en compte des apports mutuels par la detection et l’analyse des indices prouvant les contacts. L’etude des interactions entre potiers-peintres d’Athenes et de Corinthe permet en effet de comprendre le processus de creation ainsi que les selections et appropriations qui en decoulent. Notre approche prend en compte toute la periode de 625 a 550 avant J. C., avec une incursion dans la periode dite orientalisante. Nous avons choisi trois axes d’etude. Le premier est l’analyse des techniques de peinture sur vases, apparition et emploi du vernis noir incise, utilisation ...
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Revue Belge De Philologie Et D Histoire Belgisch Tijdschrift Voor Filologie En Geschiedenis, 2009
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Revue belge de philologie et d'histoire, Jan 1, 2009
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Thesis Chapters by Magali Ramon Ribaud
Les études comparatives des productions de céramiques archaïques d’Athènes et de Corinthe ont tou... more Les études comparatives des productions de céramiques archaïques d’Athènes et de Corinthe ont tout d’abord été menées du point de vue de l’influence unilatérale de l’une des cités sur l’autre. Depuis les années 80, les chercheurs se sont orientés vers des comparaisons spécifiques, visant à mettre en évidence l’existence de similitudes entre les productions des deux cités. Nous nous inscrivons dans cette dynamique de prise en compte des apports mutuels par la détection et l’analyse des indices prouvant les contacts. L’étude des interactions entre potiers-peintres d’Athènes et de Corinthe permet en effet de comprendre le processus de création ainsi que les sélections et appropriations qui en découlent. Notre approche prend en compte toute la période de 625 à 550 avant J. C., avec une incursion dans la période dite orientalisante. Nous avons choisi trois axes d’étude. Le premier est l’analyse des techniques de peinture sur vases, apparition et emploi du vernis noir incisé, utilisation du contour et différenciation visuelle des femmes dans les scènes. Le transfert et l’appropriation de l’iconographie des « danseurs rembourrés » (et des formes de banquet associées) entre Corinthe et Athènes constituent le deuxième axe. Le dernier axe s’appuie sur l’étude des céramiques produites au Corinthien Récent quant à leurs formes, décors et iconographies associés et de leurs rapports avec Athènes. Les contextes d’utilisation des céramiques sont également pris en compte. Nous avons ainsi mis en évidence que les interactions sont non seulement le fruit de la connaissance de la production de l’autre mais aussi le fruit de contacts directs entre certains artisans.
Comparatives studies of archaic pottery productions of Athens and Corinth have first been drawn from the unilateral influence, of the city on the other, point of view. Since the eighties, the studies made in this area have led towards specifics comparisons, designed to demonstrate the existence of similarities in production between the two cities. We are part of this process by taking into account the mutual contributions by the detection and analysis of evidences showing contacts. The identification and study of interactions between the potters and painters of Athens and Corinth has allowed us to understand the creative process and, the selection and the ownership resulting. In addition, our approach has taken into account the entire period from 625 to 550 B. C., with an incursion into the Orientalizing period. We chose three areas of study. The first was the analysis of vase painting techniques with the development and use of incised black gloss and the use of outline and visual differentiation of women in scenes. Our second analysis was the transfer and appropriation of the iconography of “padded dancers” between Corinth and Athens. The shapes of vases were also taken into account. Our final analysis relied on the study of ceramics produced in the Late Corinthian period in terms of shapes, decoration and associated iconography and their relationship with Athens. Finally, we have been able to show that interactions were not only the result of contacts in ceramics but also from some direct contact between the Attic and Corinthian craftsmen.
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Conference Presentations by Magali Ramon Ribaud
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Papers by Magali Ramon Ribaud
Thesis Chapters by Magali Ramon Ribaud
Comparatives studies of archaic pottery productions of Athens and Corinth have first been drawn from the unilateral influence, of the city on the other, point of view. Since the eighties, the studies made in this area have led towards specifics comparisons, designed to demonstrate the existence of similarities in production between the two cities. We are part of this process by taking into account the mutual contributions by the detection and analysis of evidences showing contacts. The identification and study of interactions between the potters and painters of Athens and Corinth has allowed us to understand the creative process and, the selection and the ownership resulting. In addition, our approach has taken into account the entire period from 625 to 550 B. C., with an incursion into the Orientalizing period. We chose three areas of study. The first was the analysis of vase painting techniques with the development and use of incised black gloss and the use of outline and visual differentiation of women in scenes. Our second analysis was the transfer and appropriation of the iconography of “padded dancers” between Corinth and Athens. The shapes of vases were also taken into account. Our final analysis relied on the study of ceramics produced in the Late Corinthian period in terms of shapes, decoration and associated iconography and their relationship with Athens. Finally, we have been able to show that interactions were not only the result of contacts in ceramics but also from some direct contact between the Attic and Corinthian craftsmen.
Conference Presentations by Magali Ramon Ribaud
Comparatives studies of archaic pottery productions of Athens and Corinth have first been drawn from the unilateral influence, of the city on the other, point of view. Since the eighties, the studies made in this area have led towards specifics comparisons, designed to demonstrate the existence of similarities in production between the two cities. We are part of this process by taking into account the mutual contributions by the detection and analysis of evidences showing contacts. The identification and study of interactions between the potters and painters of Athens and Corinth has allowed us to understand the creative process and, the selection and the ownership resulting. In addition, our approach has taken into account the entire period from 625 to 550 B. C., with an incursion into the Orientalizing period. We chose three areas of study. The first was the analysis of vase painting techniques with the development and use of incised black gloss and the use of outline and visual differentiation of women in scenes. Our second analysis was the transfer and appropriation of the iconography of “padded dancers” between Corinth and Athens. The shapes of vases were also taken into account. Our final analysis relied on the study of ceramics produced in the Late Corinthian period in terms of shapes, decoration and associated iconography and their relationship with Athens. Finally, we have been able to show that interactions were not only the result of contacts in ceramics but also from some direct contact between the Attic and Corinthian craftsmen.