The exhibition "MythoMania"

The loutrophoros is an elongated vase, originally used to transport water for purifying baths (loutra) prior to a wedding. The specimen is attributed to the White Sakkos Painter (320–310 BC).
 

It features the hero Pelops racing his chariot against Oenomaus in order to win the hand of his daughter Hippodamia. Oenomaus challenged all his daughter’s suitors to a chariot race, and condemned them to death if they were defeated.

Instead, Pelops won the race by sabotaging Oenomaus’ chariot, causing his death. Hippodamia is shown leaving behind a ball of wool, a symbol of childhood games, and performing the gesture of unveiling of the bride in front of the groom. 

Previously preserved at the J. Paul Getty Museum in Malibu (USA), the monumental volute krater attributed to the workshop of the White Sakkos Painter (about 320 BC) shows a scene from the Underworld on the front side.

In the center, the lords of the kingdom of the dead are depicted seated inside their palace: Hades and his bride Persephone From the ceiling beams hang a shield, a pair of greaves, a cuirass and a helmet.

Some of the most famous inhabitants of the Greek Nether World are depicted around the palace: on the left there are Hermes and Hecate, on the lower part the Danaids, who killed their husbands, on the right there is Megara with her children, killed by Heracles and Orpheus, who descended into Hades for the love of Eurydice.

The potters and painters who made and decorated Apulian vases, unlike their Athenian colleagues, did not sign their works. Therefore, we can only refer to them using nicknames based on what we know about them. 

The Darius Painter, whose name derives from the representation of King Darius the Great of the Persia on a large volute krater preserved in the Naples National Archaeological Museum, was one of the most original and creative artists between 340 and 320 BC in Taranto.

The cultured and refined production of the Darius Painter and his circle features the usual mythological subjects, which are often reworked in unusual ways, but also attests the first appearance of historical themes.

This monumental mask-handled krater, now exhibited in the Room IX of the MArTA, was returned to Italy in 2009 following an agreement with the Cleveland Museum of Art (USA), where the work had been kept. 

Dated to about 330 BC, the main side of the krater depicts the Argive seer Amphiaraus climbing armed into his quadriga to leave for the expedition of the Seven Against Thebes. 

Amphiaurus foresaw the fatal outcome of the expedition but was forced to participate by his wife, Eriphyle. A winged Fury embodies the madness and the guilt that will torment Alcmaeon following his matricide.

In the far left of the lower register, his young son Alcmaeon raises his hand to his forehead in a gesture of affliction, foreshadowing his own tragic fate: he murdered his own mother to fulfill an oath of vengeance given to his father. 

The MythoMania exhibition has brought together three vases, which represent the salient moments of this story, made famous by the tragedy by Euripides. These vases are precious witness to the relationship between Magna Graecia and the Greek theatre.

This krater depicting Andromeda being tied to two poles by a young man is attributed to the most ancient period of Apulian ceramic production (around 410–400 BC).

On the right, Perseus, wearing the winged sandals and Hades’ Helm of Darkness, which allowed him to turn invisible, makes a pact with the elderly king Cepheus, who promises his daughter’s hand in marriage in exchange for her rescue.

This vase, dated to about 340–330 BC, shows on its front the most dramatic moment in the myth of Andromeda. The Aethiopian princess, tied to a cliff, is saved by Perseus, who is depicted fighting Cetus.

The image of Eros on the monster’s back, prefigures the marriage between Perseus and Andromeda as the happy end of the story. 

This vase, attributed to the workshop of the most prominent Apulian painter, from the late period has been recomposed from numerous fragments and is a rare example of a depiction of Andromeda’s reconciliation with her parents. 

After the monster threatening her was killed, the Aethiopian princess could not immediately marry her savior due to the opposition of her father, Cepheus. He is depicted on the right, where a servant restrains him from lashing out at Perseus. 

Andromeda looks down at her mother, Cassiopeia, who kneels at her feet to beg for forgiveness. 

Eros, Aphrodite and Homonoia, prefigure the positive outcome of the story: the princess marries Perseus and they have many children together.