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Kleophrades and Michael
Beazley as well as Michael Padgett believe that Kleophrades not only worked in the pioneer workshop, but Kleophrades was also trained and taught by Euthymides.

Kleophrades and Painter
The last painters producing acceptable quality images on large vases were the Eucharides Painter and the Kleophrades Painter.
These include the Eucharides Painter, the Kleophrades Painter, the Berlin Painter, the Achilleus Painter and Sophilos, who was the only one to have signed one of the surviving vases.
They include the Berlin Painter, the Kleophrades Painter, and among the bowl painters Onesimos, Douris, Makron and the Brygos Painter.
Side B of an Attic red-figure pelike by the Kleophrades Painter, ca.
The Kleophrades Painter is the name given to the anonymous red-figure Athenian vase painter, who was active from approximately 510 – 470 BCE and whose work, considered amongst the finest of the red figure style, is identified by its stylistic traits.
However in 1981 Sir John Boardman demonstrated that the signature on the vase was a modern forgery, and the Kleophrades Painter returned to anonymity.
* Beazley Archive, University of Oxford-The Kleophrades Painter
* Beazley, J. D. The Kleophrades Painter.
" Panathenaic Amphorae by the Kleophrades Painter.
simple: Kleophrades Painter
# REDIRECT Kleophrades Painter

Kleophrades and .
This phase also sees the specialization of painters into pot and cup painters, with the Berlin and Kleophrades Painters notable in the former category and Douris and Onesimos in the latter.
The name Kleophrades painter, given him in 1910 by classicist John Beazley, arises from a potter's inscription Kleophrades on a cup now in the Cabinet des Medailles, Paris ; after having had this designation for some time, scholars discovered a pelike, now in Berlin, which has the painter's name Epiktetos inscribed on it, and the painter was for a time designated Epiktetos II, distinguishing him from a contemporary painter of the same name.
The Kleophrades painter is thought to be the son of the potter Amasis, and the pupil of Euthymides, as his earliest work greatly resembles that of his master.
Overall the Kleophrades painter is recognized as one of the greatest pot painters in the late Archaic period in Athens.
The Beazley Archive has 227 vases either attributed to, near, or compared with the Kleophrades painter, and of these 227, 113 are directly attributed to this great painter, although aside from the potter's name on the one pelike, his name is not found anywhere.
Although he painted a number of different shapes, the Kleophrades painter focused mostly on large vases, with the four most common shapes being Calyx kraters, Hydrias, panathenaic Amphorae, and neck amphorae.
Although the Kleophrades painter was not a member of the pioneer group of red-figure painters, it is suggested that he worked in the pioneer workshop.
Euthymides is older and had a clear influence on Kleophrades based on technique and style.
In addition to being trained in both black and red-figure, Kleophrades also used the white ground technique.
Kleophrades did use it often and when the painter did it was a sub technique of his black-figure works.
The attribution of the Kleophrades painter ’ s work is based on the expressive emotions of his characters, and his work is particularly identifiable through study of his painted faces.
Although working primarily in red figure ( apart from the borders and patterns previously mentioned ), the Kleophrades painter completed a number of panathenaic amphorae, many of which were actually used as prizes.
All panathenaic amphorae, not only those by the Kleophrades painter, are done in black figure, and his personal pots show great proficiency in this style.
The panathenaic amphorae by the Kleophrades painter can be recognized by the representation of Pegasus, the winged horse, on the shield carried by Athena, the manner in which her hair is represented, and the position of the spear behind Athena ’ s head, as well as the relation of the spear to her face.
The Kleophrades Painter's style is praised for the quality of the draughtsmanship, as well as for the vigorous, robust, and well-proportioned figures that he depicted.

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