Roman Art and Architecture: from Julius Caesar to Hadrian Spring 2011 HIAA 0340 a – CRN 25363
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Greek Sculpture and the Four Elements Art
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level. -
The Sepulchral Symbolism and Workshop Comparison of the Raptus of the Sabines Sarcophagus and the Metilia Acte Sarcophagus
International Journal of Archaeology 2015; 3(1): 1-7 Published online February 5, 2015 (http://www.sciencepublishinggroup.com/j/ija) doi: 10.11648/j.ija.20150301.11 ISSN: 2330-7587 (Print); ISSN: 2330-7595 (Online) The Sepulchral Symbolism and Workshop Comparison of the Raptus of the Sabines Sarcophagus and the Metilia Acte Sarcophagus Fred A. White 1, 2 1Curator-in-Charge of the Archaeological Collections, Florida Archaeological Survey, Gainesville, FL, USA 2Advisory Council and Collections, Appleton Museum of Art, College of Central Florida, Ocala, FL, USA Email address: [email protected] To cite this article: Fred A. White. The Sepulchral Symbolism and Workshop Comparison of the Raptus of the Sabines Sarcophagus and the Metilia Acte Sarcophagus. International Journal of Archaeology. Vol. 3, No. 1, 2015, pp. 1-7. doi: 10.11648/j.ija.20150301.11 Abstract: The sarcophagus illustrating the story of the Sabine Women at the Cornell Fine Arts Museum is believed to have been obtained in Rome between 1899 and 1904 by Alfred Emerson, Professor and Chair of Classical Archaeology at Cornell University, Fellow at John Hopkins University and the Curator of Antiquities at the Art Institute of Chicago. The Metilia Acte sarcophagus illustrating the story of Alkēstis at the Vatican in the Museo Chiaramonti was discovered in Ostia in 1826 by the architect Pietro Hall and Felice Cartoni. The Sabine sarcophagus dates to the second century A.D. and the Alkēstis sarcophagus dates by the inscription to between the years 160-170 A.D. The Sabine story is the Raptus of the Sabine Women while the Alkēstis story is according to Euripides' drama, Alkēstis. -
Sevy 1 Monique Sevy Professor Julianne Sandlin AH 205 11035 8 March 2012 the Augustus of Primaporta: a Message of Imperial Divin
Sevy 1 Monique Sevy Professor Julianne Sandlin AH 205 11035 8 March 2012 The Augustus of Primaporta: A Message of Imperial Divinity The Augustus of Primaporta is a freestanding marble sculpture in the round. The sculpture is a larger than life 6’ 8” tall and is an example of early Roman imperial portrait sculpture. This sculpture is currently displayed in the Braccio Nuovo of the Vatican Museums in Rome, Italy. This marble portrait of the first Roman emperor, Augustus, is a very naturalistic statue. Although the sculpture was carved in the early first century, at the time of the Roman empire, Augustus stands in a Classical Greek contrapposto pose. While the sculptor of this piece is unknown, we do know that he or she followed the canon of the High Classical Greek sculptor named Polykleitos in pose, idealization, and proportion (Stokstad, Cothren 174). The Augustus of Primaporta statue sends not only a message of the Emperor Augustus as an accomplished military leader, but also clearly suggests that the emperor is a divine being. The Augustus of Primaporta is a three-dimensional sculpture. The statue actually occupies space; therefore there is no need to use illusion to create suggested space. However, the statue does use space, both negative and positive, to influence the viewer. The negative space between Augustus’s calves forms an implied triangle, or arrow, directing the viewer’s gaze upward toward the center focal point of the piece, while the positive space of the emperor’s raised and pointed right arm forcefully pierces the space surrounding the piece. -
Roman Art Kindle
ROMAN ART PDF, EPUB, EBOOK Paul Zanker | 216 pages | 10 Jan 2012 | Getty Trust Publications | 9781606061015 | English | Santa Monica CA, United States Roman Art PDF Book If you don't know about Paracas textiles Construction of the Baths of Diocletian , for instance, monopolised the entire brick industry of Rome, for several years. Roman aqueducts , also based on the arch, were commonplace in the empire and essential transporters of water to large urban areas. The Romans also made frequent use of the semicircular arch, typically without resorting to mortar: relying instead on the precision of their stonework. The heads of the Marcus Aurelius figures are larger than normal, to show off their facial expressions. However it never lost its distinctive character, especially notable in such fields as architecture, portraiture, and historical relief. This led to a popular trend among the ancient Romans of including one or more such statues in the gardens and houses of wealthier patrons. With the authenticity of the medallion more firmly established, Joseph Breck was prepared to propose a late 3rd to early 4th century date for all of the brushed technique cobalt blue-backed portrait medallions, some of which also had Greek inscriptions in the Alexandrian dialect. They also served an important unifying force. Useing vivid colours it simulates the appearance of marble. From Wikipedia, the free encyclopedia. Sculpture: Types and Characteristics. A higher relief is used, permitting greater contrast between light and shadow. Further information: Roman portraiture. As another example of the lost "Golden Age", he singled out Peiraikos , "whose artistry is surpassed by only a very few But flagship buildings with domes were far from being the only architectural masterpieces built by Ancient Rome. -
THE ORIGINALITY of ROMAN SCULPTURE* Anthony Bonanno
THE ORIGINALITY OF ROMAN SCULPTURE* Anthony Bonanno RIGINALITY in itself is an absolute quality; it is either there or not there. O It can be present in some aspect, or aspects, and not in others. But its presence or absence can be determined only by relating the artifact which is supposed to contain it (be it a poem, a work of figurative art, a patented idea, or even a philosophical thought) with others preceding it in time. An industrial design presented for patent registration has to be original, otherwise it does not qualify as a new device, a new contribution to science or technology; it is worthless because it is only a repetition of something else that was created before it. So, even here, originality is judged by comparison with what precedes it. But it is rarely or never the case that the entire design, or designed object, is entirely new. Originality generally resides only in a part of the whole, but that partial novelty is conventionally accepted as constituting a new design, a new device. Apart from the common place and far from poetical analogy, I believe that more or less the same thread of thought can be applied to the task of establishing whether Roman art is an original art, and thus qualifying it as something distinctly Roman, or whether it is merely an extension of another art. And to establish one or the other, the comparison has to be made with the art that precedes it in time. The prehistoric cave art of the Franco-Cantabrian region with which we are all familiar has no predecessor, at least according to the present state of our knowledge of Palaeolithic man and his art; therefore, it stands to reason that this art could not be other than original. -
Roman Art from the Louvre
Roman Art from the Louvre Resource for Educators American Federation of Arts Roman Art from the Louvre Resource for Educators American Federation of Arts Roman Art from the Louvre is organized by the American Federation of Arts and the Musée du Louvre. The exhibition is supported by an indemnity American Federation of Arts 305 East 47th Street, 10th floor from the Federal Council on the Arts and the Humanities. New York, NY 10017 212.988.7700 The AFA is a nonprofit institution that organizes art exhibitions for presen- www.afaweb.org tation in museums around the world, publishes scholarly exhibition cata- logues, and develops educational materials and programs. © 2007 American Federation of Arts All materials included in this resource may be reproduced for educational purposes. Please direct questions about this resource to: Suzanne Elder Burke Director of Education American Federation of Arts 212.988.7700 x226 [email protected] Exhibition Itinerary Indianapolis Museum of Art September 23, 2007–January 6, 2008 Seattle Art Museum February 21–May 11, 2008 Oklahoma City Museum of Art June 19–October 12, 2008 Design/Production: Emily Lessard Front cover: Fragment of a Relief of a Double Suovetaurilia Sacrifice (detail), 1st or 2nd quarter of 1st century A.D. (no. 4) Back cover: Knife Handle in the Shape of a Thracian Gladiator, 2nd half of 1st century A.D. (no. 6) CONTENTS About This Resource 4 Exhibition Overview 5 Ancient Roman Society 6 History of Ancient Rome Government—The Emperor and the Senate Citizenship Non-Citizens—Foreigners, Slaves, and Freedmen Leisure 10 The Baths Roman Theater Circus Maximus The Amphitheater Religion 11 Guide to Roman Gods and Goddesses 13 Guide to Roman Vessel Forms 16 Interesting Facts about Ancient Rome 18 Selected Works of Art 19 1. -
The Polychromy of Greek and Roman Art; an Investigation of Museum Practices
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2012 The Polychromy of Greek and Roman Art; An Investigation of Museum Practices Meghan Combs CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/148 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Polychromy of Greek and Roman Art: An Investigation of Museum Practices Meghan K. Combs Advisors: Harriet Senie, Linda Kastan December 10, 2012 Submitted in partial fulfillment of the requirements for the degree of Master of Arts of the City College of the City University of New York Table of Contents Introduction 1 Chapter 1: The History of Greek and Roman Polychromy and Its Reception 3 The Greeks 3 The Romans 12 The Renaissance 17 Nineteenth Century 20 Twentieth Century 24 Summary 25 Chapter 2: Modern Scholarship on Greek and Roman Polychromy 27 Gisela Richter: Early Greek Polychromy 27 David Batchelor: "Chromophobia" 30 Vinzez Brinkmann: Color Detecting Techniques 32 Mark B. Abbe: Roman Polychromy 34 Summary 36 Chapter 3: Museum Practices and Exhibitions 37 The Metropolitan Museum of Art 37 The Museum of Fine Arts, Boston 42 Exhibition: Gods in Color: Painted Sculpture of Classical Antiquity 46 The J. Paul Getty Museum 49 Summary 51 Chapter 4: Exhibition of the MMA's Permanent Collection 52 The Exhibition 52 Conclusion 57 Images 59 Introduction The fact that Greek and Roman sculpture was once brightly painted was the subject of an ongoing debate among art historians since the early nineteenth century. -
Roman Sculpture, Janson.Pdf
1 Excerpted from Janson, History of Art, 5th ed. New York: Harry N. Abrams, 1995, 188 – 200. ROMAN SCULPTURE The dispute over the question" Is there such a thing as a Roman style?" has centered largely on the field of sculpture, and for quite understandable reasons. Even if we discount the wholesale importing and copying of Greek originals, the reputation of the Romans as imitators seems borne out by large quantities of works that are probably adaptations and variants of Greek models of every period. While the Roman demand for sculpture was tremendous, much of it may be attributed to antiquarianism, both the learned and the fashionable variety, and to a taste for sumptuous interior decoration. There are thus whole categories of sculpture produced under Roman auspices that deserve to be classified as "deactivated” echoes of Greek creations, emptied of their former meaning and reduced to the status of highly refined works of craftsmanship. At times this attitude extended to Egyptian sculpture as well, creating a vogue for pseudo-Egyptian statuary. On the other hand, there can be no doubt that some kinds of sculpture had serious and important functions in ancient Rome. They represent the living sculptural tradition, in contradistinction to the antiquarian-decorative trend. We shall concern ourselves here mainly with those aspects of Roman sculpture that are most conspicuously rooted in Roman society: portraiture and narrative relief. Republican We know from literary accounts that from early Republican times on, meritorious political or military leaders were honored by having their statues put on public display. The habit was to continue until the end of the Empire a thousand years later. -
Roman Sculpture
CLASSICAL SCULPTURE Lesson 3. Roman sculpture IES VILATZARA Javier Muro 1.1. Augustus' wife: Livia Augustus of Primaporta. Early 1st century AD (marble) after a bronze of the 1st century B.C. 1.1. CATALOGUING WORD BANK : Title Unknown, Sculptor Marble, Carved, Statue in the round Chronology Material Typology 1.1. FORMAL DESCRIPTION WORD BANK: Balanced Composition Weight Contrapposto Naturalistic, Treatment of forms: Armour, Cuirass or body, metal breastplate, draperies... Tunic, Crumpled toga, Reliefs Movement Arm, legs, limbs Movement Repose Serenity Expressivity Idealisation Portrait Roman sculpture Style Proportions Joints, Hair, Face http://web.mit.edu/21h.402/www/primaporta / Crumpled toga Armour, Cuirassor metal breastplate Reliefs 2. INTERPRETATION Iconography is the branch of art history which studies the identification, description, and the interpretation of the content of images. The word iconography literally means "image writing", or painting, and comes from the Greek εικον (image) and γραφειν (to write). Symbols are objects, characters, or other concrete representations of ideas, concepts, or other abstractions. 2.1. Read this text and relate the two columns in the grid below : The statue of Augustus of Primaporta depicts the youthful Augustus, the first Roman emperor, as a general of generals (cuirass) and as a civilian authority (toga), with a sceptre in his left hand and pointing the way to Rome’s imperial future with his right arm. Specifically, the statue celebrates Augustus’s recovery of Roman military standards lost in a battle some years ago. Augustus is depicted to be still and calm. There is little movement. Even on the breastplate (cuirass), there are no signs of battles or violence . -
Wilkinson 1 Philip Wilkinson Dr. Berghof HCS17 18 June 2017 The
Wilkinson 1 Philip Wilkinson Dr. Berghof HCS17 18 June 2017 The Chiasmus of the Augustus of Prima Porta and its Propagandistic Utility Ignoring the frequently sidelined chiasmus of the Augustus of Prima Porta risks overlooking the propagandistic utility of the statue that directs thought and discourse by conveying Rome’s progressively expanding military and political power and preservation of past administrative and civil systems. Most importantly, however, the statue accomplishes this with ambiguous connotations so as to understate the impact of the transformation of Roman government into an autocratic and centralized imperial entity. Scholars such as Arias give passing credence to the chiastic shape of the statue (Arias 277) without noticing how it directs the attention of the audience to progressive and conservative themes. Others, such as Pollini, manage to recognize the chiastic form, also referred to as contrapposto, and the manner in which it creates an aesthetic sense of authority and majesty while comparing the statue to the Greek Doryphoros (Pollini 270). Nonetheless, they fail to recognize the chiastic structure of the statue that moves beyond the expression of individualistic emotions and traits to consist of national narratives that critique and glorify the restructuring of Roman civilization’s allocation of martial and bureaucratic power. Moreover, this previously ignored chiasmus goes further by providing the statue’s audience the ability to understand the progressive and conservative themes from a variety of different angles, settings, and directions of viewing the chiasmus. Going even further, the chiasmus also draws attention in towards a metaphor for Rome’s geopolitical empire: the Wilkinson 2 statue’s cuirass, rich in symbolism and icons recounting the recovery of Rome’s sacred standards from Parthia. -
A Study of Greek and Roman Stylistic Elements in the Portraiture of Livia Drusilla
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-2015 A Study of Greek and Roman Stylistic Elements in the Portraiture of Livia Drusilla Chloe Elizabeth Lovelace [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Part of the Classical Archaeology and Art History Commons Recommended Citation Lovelace, Chloe Elizabeth, "A Study of Greek and Roman Stylistic Elements in the Portraiture of Livia Drusilla" (2015). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1857 This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. A Study of Greek and Roman Stylistic Elements in the Portraiture of Livia Drusilla Honors Thesis Project Chloe Lovelace Faculty Advisor: Dr. Stephen Collins-Elliott Department of Classics 1 Introduction For the past three-hundred years or so, the study of Roman art has been seen through the lens of the 18 th century German elite; their writings have been translated, analyzed, debunked, praised, but we cannot remove ourselves from their original work, or their original prejudices. Though revolutionary, establishing the nascence of art history itself, they limited Roman art to a category of imitation, rather than viewing it as art on its own. Rome is punished eternally for the arbitration of time—its place later in history has given it a reputation as a state of cultural appropriation. -
'Breaking the Mould' Roman Non-Elite Plaster
assemblage (2017): 13-31 ‘Breaking the Mould’ Roman Non-Elite Plaster Death Masks: Identifying a New form of Funerary Commemoration and Memory By KELSEY MADDEN This paper sets out to explore the Roman non-elite plaster death masks and their place in non- elite funerary commemoration and memory preservation. The non-elite plaster death masks have been overlooked due to overall interest focused on the elite class more than their less wealthy counterparts. This research explores the timeline in which the masks belong, the provinces they belong to, technique of manufacture, evidence of uniformity, degrees of likeness, and examination of age and sex represented. The results of the analysis of these factors has determined that the non-elite plaster death masks in Rome appear in a funerary context starting in the second century AD and spread to the provinces of France and Tunisia into the late third to early fourth century AD. The earliest masks date to the first century BC to first century AD from Egypt. This practice spread through trade into the ports of Rome, simultaneously influencing the Roman plaster death masks with the elite imagines. Non-elite Roman citizens were not allowed to have ancestors, who comprised of prominent men in the family. The presence of women and children plaster masks concludes that the non-elite were allowing members of the family outside of the older male category to become ancestors. Therefore, the non-elite had to begin crafting their ancestry in the present through their representation in funerary commemoration. Keywords: death masks, plaster, Roman, non-elite, memory, funerary, commemoration Introduction have been some made in death as not everyone could have had a mask made before their death.