1. Who was the painter and why was he so called?

Painter was the Niobid aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?]. He was called this after a vase painted by him but not aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?], depicting the slaughter of the children of aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] by the children of aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] (Apollo and Artemis). "Niobid" = "aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] of Niobe" - this painter is therefore called the Niobid after the subject of his painting.

2. What is the subject matter of this painting? What was the moral of the story? Who are depicted in the painting on the other side?

Niobe, wife of Amphriam, King of Thebes, boasted that she deserved more aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] than Leto because she had so many children (7 sons and 7 daughters, all talented, beautiful, etc, etc). Leto was aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] and sent her children to kill Niobe's. Niobe aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] so much that the gods turned her into a stone cliff with a waterfall.

Moral: Don't boast or set yourself above the aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?].

On the other side are shown aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?], warrior goddess, and aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?], nakedly aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?]. The aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] other figures may be Argonauts (there are no names).

3. What new features are exhibited in the style of this vase?

* the stance and dress of Athena are comparable with similar features in aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] between 470-450 BC.

* patterning in the fall of the folds of the drapery is retained, but combined with a better understanding of the way dress follows aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] of body underneath and a more aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] fall of drapery.

* until this point figures in a scene have stood on the aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] groundline at the base of the painting. Here, Athena stands on a relatively flat groundline, but this line undulates aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] her, forming a basic landscape. The other warriors are set up or down in the painting in aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] to her position. Some are even obscured by rocks. All this gives an illusion of aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?]. This development indicates the important influence of aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?].

* The aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] of the figures' gazes and poses tends to tie the composition together. The recent development of the true profile aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] is important in that it adds aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX[?] to a gaze.aroundAthenachilddepthdirectioneyefuriousgodsHeraklesheroicLetomuralsnaturalNiobePainterrelationsamesculpturesevenshapesignedweptworshipXXXX