He systematically described and catalogued thousands of Attic black-figure and red-figure vases and sherds, using the methods of the art historian Giovanni Morelli for the study of paintings. Beazley used these compendia as a starting point for his own work. This led to an intensive study of painters' signatures, and by the late 19th century, scholars began to compile stylistic compendia. The discovery of the first signature of Euphronios in 1838 revealed that individual painters could be identified and named, so that their works might be ascribed to them. Initially, interest focused on iconography. Modern scientific study of Greek pottery began near the end of the 18th century. Thus, reconstruction of Euphronios's life and artistic development-like that of all Greek vase painters-can only be derived from his works. The copious literary tradition on the arts hardly mention pottery. In contrast to other artists, such as sculptors, no Ancient Greek literature sources refer specifically to vase painters. General considerations The discovery of Greek vase painters His works place him at the transition from Late Archaic to Early Classical art, and he is one of the first known artists in history to have signed his work. As part of the so-called " Pioneer Group," (a modern name given to a group of vase painters who were instrumental in effecting the change from black-figure to red-figure pottery), Euphronios was one of the most important artists of the red-figure technique. 535 – after 470 BC) was an ancient Greek vase painter and potter, active in Athens in the late 6th and early 5th centuries BC. Paris, Louvre G 106: Neck amphora depicting a Scythian archer, c.
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