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AP Art History Unit Sheet #7: Chapter 7 Roman Art Mrs AP Art History Unit Sheet #7: Chapter 7 Roman Art Mrs. Cook Works of Art Preview: The Roman Empire was the most expansive and powerful of the ancient world, and its cultural productions, architectural forms, social and legal structures, and language has indelibly marked the Western world as we know it today. The empire dates from 753, with the establishment of the city of Rome in Italy. The early monarchy gave rise to the Roman Republic, established in 509 BCE. The early Roman Empire dates to 27 BCE and the rule of Augustus, followed by the High Empire of 96‐192 CE. The Late Empire, 193‐337 CE, came to an end when Constantine, the first Christian emperor, moved the capital of the Empire from Rome to Constantinople. At its height, the Roman Empire spanned three continents, and its former territory is marked by monumental works of art, architecture, and engineering still visible today. Roman sculptors were avid followers of the Ancient Greeks, though they developed a distinctive realist style. Early Roman architecture blended forms from the Etruscans and the Greeks, but the Romans were above all architectural innovators, using concrete on a monumental scale, exploiting the structural possibilities of the arch, vault, and dome, and developing building types such as the basilica and amphitheater. Roman Art – Context Appropriation: “Captive Greece made Rome captive” Pragmatism: where the greatest good and popular opinion established the standard of art Propaganda: Power and Authority of Republicanism and Imperialism Utilitarianism: engineering, road building, public works to manage government and Empire Eclecticism: a tolerant and open‐minded approach to differences Engineering: new technological innovations in building including arch, vault, dome, concrete Technique/Terminology/Vocabulary: Architecture Doric order Ionic Order Corinthian Order Tuscan Order Arches: centering, springing, voussoirs, arcade, barrel vault, buttressing, travertine, opus caementicium, pozzolana Temples: pseudo‐peripteral, veneer, podium, porch, engage column, portico, coffers, oculus, dome, apse, spandrel, pilaster Baths: calidarium, tepidarium, frigidariu, amphitheater Forum: basilica, longitudinal axis, nave, clerestory, aisels, exedrae, cross vaulting, colonnade Sculpture: Patina, cuirass, antiquarium, death mask, portrait bust, veristic portraits, patrician, gravitas, equestrian portrait Painting the 4 styles of Roman wall painting, fresco, illusionism, modeling Mosaic various mosaics from Ostia, Pompeii, and Herculaneum Roman Architecture 1. Building for use – addressing the practical problems of everyday city life – a shift from religious buildings to civil engineering projects 2. Developing the arch and vault as a structural principle – increase in scale of building exterior and interiors made possible 3. Emphasis on verticality – made possible by the use if concrete – new height of buildings and multi‐used facilities 4. Design of significant interiors – greater variety and complexity of forms – Romans treated space and light as tangible realities 1 AP Art History Unit Sheet #7: Chapter 7 Roman Art Mrs. Cook Advantages of Concrete: 1. Less expensive (than stone) 2. Easier to build with (mixing) 3. Often stronger (tensile) 4. Larger structures can be built (especially height) 5. Greater variety & complexity of forms/spaces possible Religious Architecture: the temple Temple of Fortuna Virilis and Mason Carree: “abbreviated” temples – a blend of Etruscan and Greek prototypes Etruscan characteristics: high podium, access from front only (by stairway) and deep porch (portico) front Greek characteristics: use of classical orders (Ionic or Corinthian), pseudoperipteral (engage columns on side and back of temple) and stuccoed surface to approximate the white of Greek temples Function: temple not only houses cult statue but also used to display trophies and “spoils of war” (statues and weapons) Interior Space: central priority is the creation of unobstructed interior space at the expense of elaborate/costly exteriors Construction techniques: cella walls constructed in concrete then covered in stucco or marble veneer. Concrete also made possible more complex forms, including domes, apse, and vaulting (groin, barrel annular) Pantheon: a “revolution” in building: largest interior space in ancient world – a temple to all the gods (pantheon) • Fully realizing the potential of poured concrete – a masterwork of Roman engineering • Dramatic interior space expressed perfect geometric volumes – the “palpable presence of space itself” • Metaphorical implications: Roman engineering – the universality of the sphere connected by a perfect circular oculus to the cosmos beyond. Light plays an important role in this metaphor as the circle of light from the oculus traces the movement of the sun along the bronze coffered dome of the interior. Public Works: the forum, basilica, bath and amphitheater (also aqueducts/bridges/theaters) Forums: open courtyards surrounding by colonnades and an exedra on both sides, with a Roman temple at one end • A monument to their builders (individual emperors often trying to out‐do their predecessors) • A public meeting place as well as a place to conduct state business Forum of Trajan: an elaborate series of court yards organized along a central axis with the Basilica Ulpia. Greek and Latin Libraries, markets (in the adjacent exedra) and a temple to the deified rule himself. Basilicas: large rectangular two storied building on a gargantuan scale with apses at both ends (with a cult statue of the Emperor in one) and long colonnades on the interior surrounding the central space called a nave. Lit by clerestory window below a raised (flat or groin vaulted) roof with a coffered ceiling and flanked by two side areas called aisles. Baths: large complex of baths (frigidarium, tepidarium, and caldarium), as well as libraries, exercise rooms (palaestras), swimming pool, lecture halls and landscaped gardens built on a massive scale 2 AP Art History Unit Sheet #7: Chapter 7 Roman Art Mrs. Cook • Built with imperial funds by emperors to curry favor with the citizens of Rome and assert their importance. • Constructed with brick and marble‐faced concrete covering barrel, annular, and groin vaults and domes Amphitheaters: Colosseum: most dramatic example of amphitheaters built throughout the empire – site of gladiatorial combat and “hunting” of wild beast brought in from far‐reaches of empire. Held up to 50,000 people! • Engineering feat of colossal proportions – concrete construction faced with travertine, 80 entrance ways, radial concentric corridors of annular vaults, retractable roof of canvas and a sub structure below arena floor (which could be flooded for mock naval battles) for gladiators, sets, and animals. • Decoration on façade uses Greek orders superimposed around exterior arches using (from bottom to top) Doric, Ionic, Corinthian engaged columns with the top level Corinthian pilasters. Monuments: Altars, triumphal arches, commemorative columns Function: propaganda for the emperor (often military victories) Context: triumphal arches, columns and alters part of larger public works, often connected to forums or city streets Context: Triumphal arches, columns and alters part of larger public works, often connected to forums or city streets Content: Narrative reliefs depicting battle scenes or other historical events, featuring the emperor and armies/senators 3 .
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