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"Acquisitions/1987." The J. Paul Getty Museum Journal 16 (1988), p. 142, no. 4.
"Acquisitions/1987." The J. Paul Getty Museum Journal 16 (1988)
Citation (Bibliographic Reference) Sequence
Lissarrague, François. "Ways of Making Sense: Eagle and Snake in Archaic and Classical Greek Art." In Images at the Crossroads. Media and Meaning in Greek Art. Judith M. Barringer and François Lissarrague, eds. (Edinburgh: Edinburgh University Press, 2022), 26, fn. 44.
Lissarrague, François. "Ways of Making Sense: Eagle and Snake in Archaic and Classical Greek Art." In Images at the Crossroads. Media and Meaning in Greek Art, edited by Judith M. Barringer and François Lissarrague. Edinburgh: Edinburgh University Press, 2022
The J. Paul Getty Museum, Villa Collection, Malibu, California
>A bird sign appeared to them, flying high and holding to the left and carrying in its talons a gigantic snake, blood-colored, alive still, and breathing, it had not forgotten its warcraft yet, for writhing back it struck the eagle that held it by the chest and neck, so that the eagle let it drop groundward in pain of the bite, and dashed it down in the midst of the battle and itself, screaming high, winged away down the wind's blast. And the Trojans shivered with fear as they looked on the lithe snake lying in their midst, a portent of Zeus.... In the *Iliad,* the poet Homer described an omen seen by the Trojans as they were attacking the Greek forces. Signifying the eternal conflict of the forces of the earth and the sky, the motif of the battling eagle and snake was used throughout antiquity. On this Lakonian black-figure kylix or cup, the Hunt Painter filled the interior with an eagle flying to the left, gripping the neck of a snake in its beak and clutching the serpent's long, undulating body in its talons. Stylized leaves and rays between bands decorate the exterior of the cup.
Attribution 4.0 International (CC BY 4.0)
J. Paul Getty Museum, Los Angeles, California
The J. Paul Getty Trust, Los Angeles, California
Text provided by the J. Paul Getty Museum. Licensed under CC BY 4.0 (http://creativecommons.org/licenses/by/4.0/).
A bird sign appeared to them, flying high and holding to the left and carrying in its talons a gigantic snake, blood-colored, alive still, and breathing, it had not forgotten its warcraft yet, for writhing back it struck the eagle that held it by the chest and neck, so that the eagle let it drop groundward in pain of the bite, and dashed it down in the midst of the battle and itself, screaming high, winged away down the wind's blast. And the Trojans shivered with fear as they looked on the lithe snake lying in their midst, a portent of Zeus.... In the Iliad, the poet Homer described an omen seen by the Trojans as they were attacking the Greek forces. Signifying the eternal conflict of the forces of the earth and the sky, the motif of the battling eagle and snake was used throughout antiquity. On this Lakonian black-figure kylix or cup, the Hunt Painter filled the interior with an eagle flying to the left, gripping the neck of a snake in its beak and clutching the serpent's long, undulating body in its talons. Stylized leaves and rays between bands decorate the exterior of the cup.
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Related Media (Image): Interior, main view
Related Media (Image): Underneath side A
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Related Media Set for Lakonian Black-Figure Kylix (87.AE.31)
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Attributed to the Hunt Painter (Greek (Lakonian), active 565 - 530 B.C.)
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Homepage for Lakonian Black-Figure Kylix (87.AE.31) (HumanMadeObject)
Provenance Acquisition for Lakonian Black-Figure Kylix (87.AE.31) associated with Atlantis Antiquities, Ltd.; subsequently sold to the J. Paul Getty Museum, 1987.
Provenance Activity for Lakonian Black-Figure Kylix (87.AE.31) associated with Atlantis Antiquities, Ltd.
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CC0 1.0 Universal (CC0 1.0) Public Domain Dedication
Acknowledgements for Collection Metadata
Collection metadata provided by the J. Paul Getty Museum. Licensed under CC0 1.0 (http://creativecommons.org/publicdomain/zero/1.0/).