Protogeometric, 1050-900 BC. The Protogeometric Attic pottery seems to be a continuation of the sub-Mycenaean as far as form and decoration are concerned. The most representative group of Protogeometric vases comes from the Kerameikos cemetery. It includes necked amphorae, stamnoi, hydrias, lekythoi, trefoil-mouthed oinochoe, kalathoi reminiscent of wicker baskets, pyxides, skyphoi, kantharoi and cups. More rarely, animal-shaped vases in the form of ducks or deer appear and are probably a Cypriot influence. Concentric semicircles and circles, linear and 'chequered' motifs are the most common decoration. At the same time, the first specimens of pictorial decoration emerge. Towards the end of the Protogeometric phase, a large part of the surface of the pot was covered by a dark glaze, a method which was to be continued during the subsequent phase; the Early Geometric.

Early Geometric, 900-850 BC. In this phase, drawings with compass are abandoned and compositions with zig-zags, curved lines and maeanders are opted for. In certain cases, the motifs are presented inside a frame. The most common shapes to be found are kraters, stemless skyphoi and pyxides with a pointed base, intended for hanging.

Middle Geometric, 850-760 BC. The surface of vases during this phase is divided into several zones and decorated with batches of parallel lines. As a decoration motif, the maeander is still in use, while hooks and the combinations of rows of triangles and lozenges emerges. Among the new vase types, the krater with the additional support member between the handle and the rim, the oinochoe with flaring neck and the flat pyxis with a wheel-made handle on the lid, stand out. Sometimes, in place of this handle, one to four small horses are encountered. The figures of men and animals are still quite rare (small horses, deer, pigs, battle scenes and a female mourner).

Late Geometric, 760-700 BC. The pottery of this phase is influenced by significant changes in the demographic and economic data of Attica. Most vases originate once more from cemeteries such as those of the Kerameikos, Thoricos, Eleusis and Myrhinnous. Many of them are of vast dimensions and have been used as grave markers. Necked amphorae and kraters are common in male tombs, whilst stamnoi are more prevalent in female ones. Pictorial representations cover a larger part of the surface of the vase, gradually replacing supplementary ornaments. For the first time we are in a position to distinguish the style of specific vase painters, such as the 'Dipylon painter' and the 'Hirschfeld painter'. They are prominent mostly in the decoration of large grave vases, which usually bear scenes of the prothesis and the ekphora. Other common subject-matter of the Late Geometric Attic pottery are warriors, battle scenes, horses and, more rarely, other animals. Open conical cups, bowls, kotylai and kraters with a high perforated base were added to the styles already in use. The aforementioned painters led Geometric vase painting to its culmination, displaying at the same time its limitations and conventionality. The relaxation of Geometric austerity came about with the break represented, both in subject matter and style, by the Protoattic pottery.