In the Old Gallery in the Chazen Museum of Artwork, there is a bell krater from Attica, Greece that was made around 460-450 BCE. It is just a ceramic vase that is in excellent condition with the exception of some chips on the red-figure decor. The Bells Krater (figure 1, determine 2) stands under two feet tall and is approximately one foot in width. Total, the scene and design and style style within this krater is usually consistent through the entire entire body in the vase, yet there are a few formal elements that separate the scenes in Side A (figure 1) from Aspect B (figure 2). Three main elements that will be reviewed include technique, space, and line, as they all include a significant impact on how the audience sees the artwork. Even though the Bell Krater is natural as a whole, the several use of formal elements on each side could have created specific impressions for the viewer in Old Greece because they surveyed equally viewpoints although dining inside their home.

In the Bell Krater, the technique varies so greatly between Part A and Side M, that it is reasonable to claim that each was painted by a different artist. The personal ways that each artist handled the red-figure decor establishes all their separate approaches and thus offers each field completely different thoughts for the viewer to pick up on. In Side A, the red-figure decoration displays Theseus seeking Helen, and uses strong yet intricate lines, giving the scene a sense of durability and power. The weighty strokes add definition and purpose to the figures' actions, but the specialist still handles to use lots of detail, especially in the figures' garments and faces. This details would have allowed the scene to come to existence for viewers in Old Greece by giving off a sense of motion from the intricate pleats of the clothes, and also emotion due to the diverse facial movement of the figures. Side B, which portrays a house maid bringing news to the queen, also uses strong lines, but with a smaller amount detail and fluidity. The...

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