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Chapter 6:
2.
Chapter 6: Etruscan and Roman Art - Roman Sculpture
-1March 07, 2016
Etruscan and Roman Art
Roman Sculpture
Dispute over the question:
Is there such a thing as a Roman style has centered
on the field of sculpture.
It has been said that Roman art was born "grown up,"
that it had no infancy or youth.
This image can be further developed by the
statement that the art of the Etruscans and
that of Greece were the parents of the Roman
art. Their legacies, the elements of realism
and idealism, at times alternate, at times
coexist, blending to form the history of Roam
art.
Ideas from Greece were introduced at the end of the
third c BC, but were often strongly resisted as
weak.
Greek art reduced of former meaning and copied.
Reduced to status of highly refined craftsmanship
Main aspects of Roman sculpture that rooted in
Roman society
1- Portraiture
2- Narrative Relief
from early Republic through end of Empire
meritorious political or military leaders honored w/
statues put on display
Beg of custom =
Greek = place votive statues of athletic victors
& other imp individuals in sanctuaries
as Delphi & Olympia
First 400 yrs. of Rome portraiture trad = unknown
no datable samples
at times
Egyptian was copied
Pseudo- Egypt
= in vogue
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Chapter 6: Etruscan and Roman Art - Roman Sculpture
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Republican Sculpture
Believable images based on
careful observation of surroundings
VERISM - convention of rendering
accurate and faithful portraits of individuals
- derived from:
- ancestor veneration
- practice of death masks
- often skilled Etruscan artists execute sculpture
J281
L'Arringatore (Aulus
Metellus)
early 1st c BC
Bronze,
height 71"
Museo Archaelogicl
Nazionale, Florence
L' Arringatore (Aulus Metellus)
Life-size (5' 11")
Bronze
Found in vicinity of
Lake TRASIMENO
Once assigned to 2nd c BC
Now dated to early 1st c BC
Etruscan inscription with name Aule Metele
(Aulus Metellus = Latin)
In Etruscan letters
on hem of toga
Roman or Roman appointed official
Workmanship = Etruscan
This sculpture known from early times as "The Orator"
Roman gesture = address & salutation
pose = expressive of authority
= repres again and again
Roman costume = early form of toga
Does NOT reflect later Etruscan trad of Hellenistic
flavor
Serious
Prosaic factual quality -- incl neatly tied shoes
According to Pliny the Elder
large statues like this one were often placed atop
columns as memorials to individuals portrayed.
TOGA =
fold & draped garment
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U284
Man of the Public,
Mus of Fine Arts,
Boston,
c 500 BC.
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J282
G6-14
Head of a Roman. c
80 BC, Marble, lifesize. Palozzo
Torlonia, Rome.
Portrait of a Roman
c 80 AD
seriousness & positive value
creation of a monumental, unmistakably Roman
portrait achieved on in a time of Sulla when
Roman architecture came of age
nothing but detailed record of facial topography
sitter's character is only incidental
Contemporary w/ J231- Hellenistic portrait head from
Delos-- sitter's psychology
Both = extremely persuasive but worlds apart
Republic
510 - 27 BCE
Wrinkles = true to life, but selective emphasis to reflect
personality
Early Imperial
Stern, rugged, iron will, in devotion to duty
27 BCE - 284 AD
Father image of frightening authority
Indiv facial details = indiv biographical data
Late Imperial
284 -400 AD
This = copy of earlier original
Decline
400 - 500 AD
Romans like Cato admired Greek cleverness but
considered Greek people untrustworthy,
emphasizing instead the Roman virtues of
uprightness, honesty, and hard work (G6-14)
The bust of the Roman carved during the late
Republican period shows a realistic and vital
portrayal of a specific human being.
He represents a man such as Cato.
There is a strength and austerity about Roman
portraits of this period.
Most of the busts that we have from the Roman period
are of older people.
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G6-15A
Pompey the Great, c
55 BC., Marble, life
size. Frank E. Brown
Collection, Rome.
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G6-14
Head of a
Roman. c 80 BC,
Marble, life-size.
Palozzo Torlonia,
Rome.
Portrait of Pompey the Great
(G6-15)
The portrait of Pompey the Great (G6-15) with its
fleshy modeling and
quizzical expression
seem much closer to both the
mode and technique found in the
Hellenistic portraits
than it does to the
tight and rather self-righteous portrayal
of the old Roman shown in (G6-14)
Although the portrayal of Pompey
is enigmatic, he is still
depicted as a particular human being,
albeit a complex one.
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Chapter 6: Etruscan and Roman Art - Roman Sculpture
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19. What major characteristic of Roman Republican
portraits differentiates them from Greek
examples?
During Hellenistic - quality of generalization had already
given way to a style that way more particularizing
and descriptive
Roman desire for literalness, together with the custom
of keeping in the house, always before one's eyes,
the imagines (death masks, usually of wax) of one's
ancestors, influenced to accentuate individual traits
still further.
The artist apparently tries neither to idealize the subject
nor interpret its personality.
Verism, a kind of super realism, is the artist's objective,
and is determined not so much by esthetic motives
as by religious conventions.
There is a need to personalize, to interpret the subject's
personality.
Patriarchal Roman custom from antiquity
at death of head of family
a wax image made of his face
preserved in special shrine.
DEATH MASKS
The wings of the atrium of a Roman house were
supplied with niches in which the ancestor portraits
were kept, and during important occasions such
as funerals these images were brought out and
often carried in processions.
Death masks, = casts made from the deceased shortly
after death.
This practice continued into Imperial times
Prob wax lasted only a few decades
so desire to duplicate in marble began c 1st c BC
Patricians-traditional leadership endangered
wanted greater public display of ancestors
emphasize ancient lineage
Republic
510 - 27 BCE
Early Imperial
27 BCE - 284 AD
Late Imperial
284 -400 AD
Decline
400 - 500 AD
VERISM = accurate,
faithful portraits
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J283
A Roman Patrician
with Bust of His
Ancestors
Late 1st c BC.
Marble, life-size.
Museo Capitolino,
Rome
Chapter 6: Etruscan and Roman Art - Roman Sculpture
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Roman Patrician with Busts of his Ancestors
late 1st c BC.
father and grandfather
work = of little distinction
Was this Republic or
Augustan?
Republic
510 - 27 BCE
Early Imperial
27 BCE - 284 AD
"father - image" spirit
Translation of wax images into marble
make images permanent & monumental in
spiritual sense
Busts freely copiedfacial features = imp
not the artistic interpretation
Busts of ancestors are copies
left bust = 30 years older than the other
Lack of feeling of the uniqueness of the original
Late Imperial
284 -400 AD
Decline
400 - 500 AD
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Chapter 6: Etruscan and Roman Art - Roman Sculpture
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Early Imperial - Augustan
Inspiration from:
Etruscan
Greek
Republic
Enriched / developed portraiture
Official images
representation of private individual
Recorded contemporary historical events
on arches
columns
mausoleums
Imperial propaganda
Assimilation of earlier sculptural tradition into new
context
imperial portrait for political propaganda
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Early Imperial - Augustan
J284
G6-62
Augustus of
Primaporta, c 20 BC.,
Marble, 6'8" high.
Vatican Museums,
Rome.
Augustus of Primaporta
c 20 BC.
Very different representations
of Augustus Caesar were carved,
some = tight, dry tradition of Roman realism.
Most = depicted as super-human,
idealized and god-like (G6-62, J284)
Egyptian/ Near East idea of divine ruler
idea entered Greek world in the 4th c BC
Alexander the Great
successors of Alex the Great transmitted it to Julius
Caesar/ Roman emperors
1st encourage worship of themselves in eastern
provinces where belief in divine ruler = long estab
tradition
official policy became- superhuman stature to
emperor- enhancing his authority.
Encouraged Roman people to identify beneficent of
state with the emperor
This statue = beginning step in dev of divinity
Heroic, idealized but with Roman flavor
Head = hellenized- but definite likeness
small physiological details = suppressed
G5-58
Polykleitos,
Doryphorus,
5th c BC
Late 70s when he died
Emperor Augustus
27 BC- 14 AD
found in villa of 2nd
wife LIVIA
RE
Recognizable image of
Augustus.
No longer intensely
individual Republican
portrait
Bare feet suggest that
the work was made
after his death
and
commemorates his
APOTHESIS (elevation
to divine status)
Emperors image became symbolic like a national flag
Same gesture as Aulus
Metellus
The model not like the Hellenistic portraits that
influenced the portrait of Pompey,
Combined with pose &
body proportions of
Polykleitos
pose = the ideal, abstract creation
Doryphoros by Polykleitos of 5th c Greece,
(humans depicted w/ perfection of gods.)
image of the god-like perfection
to imply the god-like power of the emperor
surface texture = actual touch of cloth, metal, leather
pose adapted by the
Romans as the basis
for the adlocutio, or
address to the soldiers
of the army
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detail of Breastplate
Augustus of
Primaporta, c 20 BC.,
Marble, 6'8" high.
Vatican Museums,
Rome.
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God = image of cupid
rides a dolphin
son of Venus
These images probably refer to the claim of his family
(the Julians) that they descended from the
goddess Venus through her human son Aeneas.
Image of emperor as benign ruler touched by gods
and that he governs by reason & persuasion
military breastplate
covers the nude torso
the symbolism of the figures on the breastplate refers
to Augustus' victories. his victory over the
PARTHIANS in 20 BCE
Allegorized
The center relief shows the recovery o the Roman
military standards from the Persians, who had
captured them during an earlier battle.
Augustus had to make military concessions to the
Persians in order to regain the standards, but he
acclaimed the whole thing as a victory.
Apollo and Artemis are also shown on the armor, for
Augustus claimed to be he new Apollo and he
constructed a temple to Apollo on Palatine Hill.
The rising sun symbolizes a new age, and the figure of
Mother Earth with a cornucopia and babies
symbolizes his association with earth and her
destruction of Troy, and finally through him, to
Venus herself, who had supposedly been his
mother.
Venus is symbolized by the small cupid on the dolphin
at Augustus' feet, which refers to Venus rising
from the sea. This complete iconography all
served to heighten the Emperor and his statue as
symbols of the Empire itself.
Republic
510 - 27 BCE
Early Imperial
27 BCE - 284 CE
Augustan
27 CE - 14 CE
Julio Flavin
14 CE - 96 CE
Late Imperial
284 -400 AD
Decline
400 - 500 AD
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Imperial Art
Narrative Art
imperial art not confined to portraiture
Historic Events
emperor commemorated outstanding
achievements on monumental altars,
triumphal arches, and columns
J115, 122, 132
familiar scenes from Near East, not Greece
Greeks dealt w/ commemoration indirectly
victory over Persians =
combat of Lapiths and Centaurs
Greeks & Amazons
This persisted in Hellenistic
except kings of Pergamum
who celebrated victory over Gauls
Gauls = repres faithfully
untypical poses of defeat
J302
G6-37
The Battle of
Issus, from the
House of the
Faun, Pompeii, c
80 BC. Mosaic,
apx 8'10" x 16'9".
Museo
Nazionale,
Naples
c 5th c BC
Greek painters depicted historic subjects such as
Battle of Salamis
(do not know how specific in detail)
According to Pliny (Roman writer)
Philoxenus of Eretia painted victory of
Alexander over Darius at Issus
c 3rd c BC
Roman historic events i.e. military would have
exploits painted on panels that were carried in
triumphal procession
display in public places- sim to posters
none survive- later took on more perm form.
Republic
510 - 27 BCE
Early Imperial
27 BCE - 284 AD
Late Imperial
284 -400 AD
Decline
400 - 500 AD
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Chapter 6: Etruscan and Roman Art - Roman Sculpture
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Taking of Roman Census
S06-26
Taking of Roman
Census
Desire to depict subjects with great detail of specific
contemporary events
complete clarity
overrode concerns for artistically balanced
composition.
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S06-27
G6-63
Ara Pacis Augustae,
13-9 BC. Marble, apx
35' wide. Museum of
the Ara Pacis
Augustae. (Cornice
restored)
Chapter 6: Etruscan and Roman Art - Roman Sculpture
- 12 March 07, 2016
G6-64
Allegory relief
"Tellus" Relief,
marble panel from
the Ara Pacis
Augustae, apx. 63"
high.
13-9 BC. Marble, apx
35' wide. Museum of
the Ara Pacis
Augustae.
(Cornice restored)
Ara Pacis Augustae (G6-63)
13-9 BC
rectangular structure
Roman adaptation of earlier reek & Hellenistic altars
best illustrates the combo of the realistic Roman
tradition with the idealization of Greece
Commissioned to commemorate triumphal return to
Rome following end of civil war & reestablishment
of firm Roman rule in Spain & France
preferred to appear as Prince of Peace rather than all
conquering military hero
Combines:
portrait and allegory
religion and politics
private and public
on wall that screens altar proper. East & west ends
Allegorical & legendary scenes
monumental frieze
and solemn procession led by emperor
ALLEGORY
Underlying allegory theme - the abundant earth
reinforced by flowers and foliage in background
and animals foreground
One of the allegorical panels shows
Tellus, or earth (G6-64),
with symbols of air and water on either side.
The imagery follows a poem
composed by the Roman Horace in 17 BC
to commemorate the founding of Rome,
but the style,
with its full figures, subtle modeling,
and single plane,
strongly reflect the influence of the Greeks
Idealism of Greeks - from Greek sources
commissioned
by Senate
13 BC
parts found as early as
16th c AD
reintegrated in 1938
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Detail of Sculpture
Chapter 6: Etruscan and Roman Art - Roman Sculpture
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Disagreement on Identity of the figures:
1. TELLUS Mater (Mother Earth)
symbolically nurturing the Roman people (the 2
babies)
as embodiment of human animal and plant fertility
2. Maternal form of
Venus - goddess of love
or Ceres - goddess of grain
3. Human representation of peace
Republic
510 - 27 BCE
Winds:
flanked by 2 personifications of wind
(2 young women with veils)
Sea wind - (sea monster)
reminds contemporaries of Rome's domination
over Mediterranean
Land Wind (Swan)
jug of fresh water
wetlands vegetation
would suggest fertility of Roman lands
Late Imperial
284 -400 AD
Figures placed in real landscape setting of rocks,
water, and vegetation
Blank background-- stands for empty sky
INTERIOR:
Recreates the temporary altar in marble
Swags of flowers from bucrania (ox skulls)
Ox skulls symbolize sacrificial offerings
Garlands, including flowering plants from each season,
signify continuous peace.
Question whether Greek or Roman invention of
pictorial treatment of space
3D and volume
Acanthus ornament on pilasters & lower part of wall ≠
Greek
Graceful and alive
design = emphasis on bilateral symmetry
= surface decoration - flatness
Scene set into a frame of architectural elements
Corinthian order columns support entablature
Greek key meander divides wall into horizontal pattern
Delicacy & minute detail = character of Roman
architectural decoration
Early Imperial
27 BCE - 284 CE
Augustan
27 CE - 14 CE
Julio Flavin
14 CE - 96 CE
Decline
400 - 500 AD
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G6-65
Procession, portion
of the frieze of the
Ara Pacis Augustae,
marble relief, apx.
63" high.
13-9 BC. . Museum
of the Ara Pacis
Augustae. (Cornice
restored)
Chapter 6: Etruscan and Roman Art - Roman Sculpture
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G5-50
Parthenon frieze
Ara Pacis Augustae (G6-63)
North and south walls
13-9 BC
Frieze of the Imperial Family
Roman realism in the procession
new level of specificity
Greek =
compare with Parthenon frieze G5-50)
Greek drapery falls gently and quietly in folds that
stress repeated calm verticals,
Roman drapery is much more active, swinging
this way on one figure, that way on another.
The carving seems dry and the folds shallow
Greater concern w/ spatial depth
foreground high relief
background increasingly lower relief
reminiscent of Pergamon
Roman =
Procession celebrating one particular event, actual
individuals
prob founding of altar in 13 BC
idealized to evoke solemn air of Parthenon procession
But filled with concrete details of remembered event
Immediacy
Naturalness
Figures meant to be identified as portraits incl young
children
little boy tugs at mantle of young man in front
ideal timeless world
procession = remote,
mythic past
beyond living memory
Held together by great
formal rhythm not
variable particulars
Roman =
Long double lines
mostly senators
imperial family
members
Seem to be waiting
after a long procession
for ceremonies to
begin.
Head of line at south
ends =
Augustus (badly
damaged0
- is probably performing
religious ritual
is surrounded by priests
& officials
Greek
The flat neutral background is allowed to
appear between the Greek figures, creating
ample space around each.
Roman
seem to crowd up against one another, and
even stand in two rows,
so there is no space for easy movement.
Feet project from architectural framework.
Like Greek, -- no background setting
The heads close to being portraits,
although somewhat more generalized
Figures farthest removed from us seem partly
immersed in stone
(woman on left- face emerges behind the shoulder of the
young mother in front of her)
First observed in Grave
Stele of Hegeso
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Chapter 6: Etruscan and Roman Art - Roman Sculpture
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J289
Stucco
decoration from
vault of Roman
house
Stucco decoration from vault of Roman
House
contrast flatness and depth
Augustan era
casual
delicate
Bottom =
2 winged genii w/ plant ornamentation
depth carefully eschewed
Part of framework
Above = Framed portion
idyllic landscape
charm
atmospheric depth
space merely suggested rather than clearly defined
effect echoes painted room decoration
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Chapter 6: Etruscan and Roman Art - Roman Sculpture
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Triumphal Arches
most characteristic examples of Roman Imperial art :
1. monuments of Augustus
2. the triumphal arch
Triumphal Arch = freestanding stone arch
commemorating the occasion of a triumph
R4682
G6-66
Arch of Titus
AD 81
50 ' tall
8-316-0259
G6-66
Arch of Titus
AD 81
50' tall
Triumph =
Formal VICTORY
CELEBRATION
Granted to a general or
emperor on return to
Rome after a significant
campaign
Parade through city:
Victorious leader
Troops
Captives
Booty
Arch of Titus
Rome
To commemorate Emperor Titus and
the capture / sack of Jerusalem.
(in August of 70 CE)
crushed revolt of the Jews in Palestine
Titus troops sacked and destroyed the Temple of
Jerusalem and took their sacred treasures.
Originally the arch was a base for a sculpture of a 4
horse chariot & driver
a typical triumphal symbol
Columns
composite order (ionic volutes superimposed on
Corinthian capitals)
Most Complete development of spatial qualities
begun with the Ara Pacis
arch contains a single passageway
Attic Story inscription:
Senate & Roman people erected to honor Titus
passageway side relief panels.
Both reliefs are crowded with figures,
& the heads show great originality & individuality.
typically Roman style shows a great deal of action
compacted in a small space.
Figures = mutilated surface
Ceiling of arch
Apotheosis of Titus
an eagle carries him to a heavenly meeting with
the gods.
Commissioned by
Domitian (81-82 AD)
Brother of Titus
Titus was deified
Concrete covered with
marble
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J291
G6-68
Triumph of Titus,
from the Arch of
Titus. Marble relief,
apx 7'10" high.
Arch of Titus
Triumphal entry of Titus
standing in a quadrigae
(a chariot drawn by four horses) layers of figures
remarkably stationary compared to other side
winged victory behind Titus
Spatial concern as in
Ara Pacis
NOT the relaxed formal
solemnity of the Ara
Pacis
this panel:
sculpture more concerned with display of the
image than creation of movement
If try to read figures in real space it gets confusing
4 horses = strict profile
move parallel to bottom edge of panel
chariot not in proper place for horses to pull it
emperor & most other figures = frontal
prob = strict conventions for triumphal emperor
were followed by artist
but in conflict with desire for movement
J290
G6-67
Spoils from
the Temple in
Jerusalem,
from the Arch
of Titus.
Marble relief,
apx 7'10"
high.
Spoils from the Temple of Jerusalem
that carried in the triumphal procession.
Most distinctive is the 7 -branched candlestick, the
menorah. & other sacred objects
successful movement of crowd of figures in depth
right = procession moves away from us go through a
triumphal arch placed obliquely to background
plane
Only nearer half of background arch emerges from the
background. Radical but effective device.
Undercut the foreground figures.
Menorah dominates scene
While Greek reliefs were often symbolic,
the Romans were
much more interested in narrative in praising their victories and military exploits.
Menorah dominates
scene
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G6-65
Procession, portion
of the frieze of the
Ara Pacis Augustae,
marble relief,
apx. 63" high.
13-9 BC. .
Museum of the Ara
Pacis Augustae.
(Cornice restored)
Chapter 6: Etruscan and Roman Art - Roman Sculpture
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3-686-0014
G6-69
Attributed to
APOLLODORUS,
Column of Trajan,
Rome, AD 113.
Marble, 128' high.
The Emperor Trajan erected a number of monuments
to commemorate and tell the stories of his
victories.
Empire reached greatest extent
Column of Trajan
most famous is the 100 foot column
erected in the forum in Rome.
originally a focal point of the Trajan's forum in Rome
(G6-45).
complex was much larger than earlier forums
Freestanding columns - in use since Hellenistic
Continuous pictorial narrative winds 656' up column.
Entire history of Dacian campaign
Scroll gradually expands form apx. 3' tall at bottom to
apx. 4' tall at top
Natural and architectural frames for scenes are small
relative to important figures in them.
More than 1500 figures linked by landscape
Recurring figure of Trajan
Republic
510 - 27 BCE
Early Imperial
27 BCE - 284 CE
Augustan
27 CE - 14 CE
Julio Flavin
14 CE - 96 CE
Good Emperors
96 - 80 CE
Late Imperial
284 -400 AD
Decline
400 - 500 AD
125' including base
Relief band 36"- 50"
high
Base = burial chamber for ashes of Trajan
court flanked by
2 story buildings
column crowned by
statue of emperor
(destroyed in Mid Ages)
3-686-0015
G6-70B
Detail of the two
lowest bands of the
Column of Trajan.
Marble relief,
each band
apx 36" high.
G6-70A
Detail
Column of Trajan
The repetition of the major characters
of Trajan's Dacian campaigns
demonstrate what is called
"stacked perspective,"
= figures in the back = higher than ones in front
This short -hand perspective often
sacrifices illusion to understanding.
Artist had a sharp eye for realistic detail, which is
important in giving vitality to the narrative.
But we are often given symbolic representations in the
midst of realistic description.
The emphasis is much more on narrative fact
than on visual attractiveness.
Many of the representational devices that we will see
in medieval art
have put in an appearance in Roman art.
DACIANS= ancient
inhabitants of
Romania
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J292
Chapter 6: Etruscan and Roman Art - Roman Sculpture
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Trajan shown as:
Strong, stable, efficient commander
of well run army
Enemies shown as:
pathetically disorganized and desperate
Hardships of war, death, suffering of innocent are
ignores
Romans never lose a battle
FLATTENED RELIEF FORESHADOWS Middle Ages
River god (Danube)
SUPER NATURAL
SUPPORT
150 separate episodes
actual combat scenes rarely occur
pontoon (floating)
bridge
geographic, logistic, political aspects receive detailed
attention
Bottom =
center = upper part of river god (Danube)
left = river boats w/ supplies
army crossing Danube on a pontoon
Roman town on rocky bank
2nd strip =
left = Trajan addresses soldiers,
building battle field Headquarters
3rd strip =
left = construction of garrison camp & bridge
right = Roman calvary sets out on reconnaissance
mission
4th strip
center- Trajans foot soldiers crossing w/ stream
right- emperor addresses troops in front of Dacian
fortress
Assyrian reliefs = only other occurrence of this same
matter of fact visualization of military operations.
??indirect link betw two??
ground tilted upward also existed in Assyrian
Trajans column = no clarifying inscriptions
pictorial account had to be self sufficient & explicit as
possible
so spatial setting of each episode had to be
worked out with great care
visual continuity had to be preserved w/o destroying
inner coherence of indiv scenes
actual depth of carving = much shallower relief than in
Arch of Titus for example
cast shadows would make other parts of narrative
unreadable
These prob solved by sacrificing most of illusionistic
spatial depth
ASSYRIAN
CONNECTION
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16. How do the reliefs on the Column of Trajan (G6-69
and G6-70) differ from those on the Ara Pacis
Augustae (G6-64 and G6-65) and the Arch of Titus
(G6-67 and G6-68)?
a. reliefs on Column of Trajan sacrificed the strong
illusionism found on the Ara Pacis Auguste and
Arch of Titus
b. Desire for completeness of narrative description
that required a great number of actions be shown in
a limited space. Narrative fact rather than visual
fact
c.
d.
In Ara Pacis Auguste/ Arch of Titus the figures are
represented as standing and moving on the same
ground line, at the eye level. of a presumed
observer who occupies an imagined place on the
same line thus all heads on apx same level
Figures on column of Trajan are superimposed ( a
different device from apx perspective of illusionism.
e. relative proportions are often sacrificed:
soldiers as large as wall
calvarymen as large or larger than horse.
In what respects do they seem to forecast the art of
the Middle Ages?
Flattening of relief
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Ara Pacis, Arch of Titus, Column of Trajan
= key imp for Imperial Rome at height of power
Extra
Portraits
G6-74
Vespasian,
c AD 75.
Marble, life size.
Museo Nazionale
Romano, Rome.
Vespasian (G6-74)
c 75 AD
equally signif portraits = diff to choose
most production
diversity of types and styles reflect complete nature of
Roman society
Republic
510 - 27 BCE
Early Imperial
27 BCE - 284 CE
Augustan
27 CE - 14 CE
Julio Flavin
14 CE - 96 CE
During the remainder of the Early Empire,
waves of Greek classical influence
alternate with definite, almost self -righteous
returns to the plain unvarnished realism of the
Republican period-
must have viewed idea of emperor worship w/
considerable skepticism
Vespasian = Emperor
AD. 69 to 79
1st of FLAVIAN
emperors
to power after
JULIO-CLAUDIAN
(Augustan) line
Good Emperors
96 - 80 CE
humble origin - simple tastes may be reflected in
anti Augustan Republican flavor of his portrait
Late Imperial
284 -400 AD
soft veiled quality of carving
w/ emphasis on skin/ hair texture = Greek
Decline
400 - 500 AD
Vespasian was a simple and forthright man who tried
After Nero
to bring some semblance of order and virtue back
to Rome after the destructive influence of the self indulgent Nero.
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Chapter 6: Etruscan and Roman Art - Roman Sculpture
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G6-75A
Portrait of a Lady, c
AD 90 . Marble, life
size, Museo
Capitolino, Rome
J294
Portrait of a Lady, c
AD 90 . Marble, life
size, Museo
Capitolino, Rome
.
.
Portrait of a Lady
c 90 AD
prob = subtlest portrait of woman in all Roman sculp
The text aptly describes this portrait as an "inimitable
union of sensitive beauty, noble elegance, and
lucid intelligence."
graceful tilt of head
glance of large eyes convey gentle mood of reverie
silky softness of skin / lips
contrasts corkscrew hair
As we examine Roman portraits,
we find a vast range of human types,
a range that far out -distances
the achievements of even
the Greek Hellenistic sculptors.
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J295
Trajan
c AD 1000 . Marble,
life size, Museum,
Ostia
.
Chapter 6: Etruscan and Roman Art - Roman Sculpture
- 24 March 07, 2016
Trajan
c 100 AD
clean shaven
| recalls
firm rounded forms |
commanding look of eyes
Augustus
|
Primaporta
eyes dramatized by strongly projecting brow
strange emotional intensity
some Greek pathos within Roman nobility
successors - adopted Greek fashion of beards
After Trajan
= strong neo - Augustan classicistic trend
sometimes peculiarly cool, formal
in 2nd c AD- reign of Hadrian Marcus Aurelius
both = introspective deeply interested in Greek
philosophy
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G6-77
Equestrian statue of
Marcus Aurelius,
Capitoline Hill, Rome,
c AD 165. Bronze,
over life size.
Chapter 6: Etruscan and Roman Art - Roman Sculpture
- 25 March 07, 2016
G6-77
Equestrian statue of
Marcus Aurelius,
Capitoline Hill, Rome,
c AD 165. Bronze,
over life size.
Equestrian portrait of Marcus Aurelius (G6-77)
161 - 180 AD
life -sized
bronze
Republic
510 - 27 BCE
Early Imperial
27 BCE - 284 CE
only surviving example of this type of monument
Augustan
27 CE - 14 CE
miraculously survived
during the Middle Ages and Renaissance because
it was mistakenly thought
to be a portrait of Constantine,
the first Christian emperor.
Julio Flavin
14 CE - 96 CE
Successful military leader
Equally proud of his intellectual attainments
Similar to Egyptians ...
he conquered effortlessly by the will of the gods.
Good Emperors
96 - 180 CE
Reign
160-180 AD
Late Imperial
284 -400 AD
Decline
400 - 500 AD
Dressed in tunic, a short heavy cloak of a
commander
Thick curly hair, full beard - a style begun by Hadrian
which became popular
resembles the look of the "philosopher" portraits
of the Republican period.
Similar gesture of:
Augusts of Primaporta and Aulus Metellus -reaches out to people in beneficent persuasive
gesture.
Difficult to create an equestrian statue so that figure
is dominant without horse being too small.
served as inspiration
and model for man and equestrian portrait during
its long history.
display emperor as all-conquering lord of earth
emperor = no weapons or armor
stoic detachment
estab trend since Julius Caesar
(statue in Forum Julium)
Beneath right front leg of horse
(acc to medieval accounts)
was once a crouched, small figure of bound
barbarian chieftain
spirited/ powerful horse = marital spirit
Succeeded by Commodus
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Chapter 6: Etruscan and Roman Art - Roman Sculpture
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Chapter 6: Etruscan and Roman Art - Roman Sculpture
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Commodus as Herakles
S06-68
Commoddus as
Herakles
Commodus as Herakles
page 271
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Barracks Emperors
G6-79
Phillip the Arab
AD 244-249
Marble, life-size,
Vatican Museums,
Rome
During much of the third century
Roman empire in almost perpetual crisis
Barbarians endangered far-flung frontiers while
internal conflicts undermined authority of Imperial
office
To maintain throne
= matter of naked force
succession by murder = regular habit
Empire was ruled by a series of so -called
Barracks Emperors
like Philip the Arab (G6-79).
Successors to Severan
more than 2 dozen emperors
Republic
510 - 27 BCE
Early Imperial
27 BCE - 284 CE
Augustan
27 CE - 14 CE
Julio Flavin
14 CE - 96 CE
Good Emperors
96 - 180 CE
Late Imperial
193 284 AD
Severan
193 - 211 CE
Begin with
Diocletian
Caracalla 211 - 217
Barracks Emperors
244 - 249 CE
Diocletian 284-305
Persecute Christians
Decline
400 - 500 AD
These Emperors
had been successful generals
whose troops had succeeded in displacing the
current Emperor
and putting their own leader on the throne.
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--------still----G6-79
Phillip the Arab
AD 244-249
Marble, life-size,
Vatican Museums,
Rome
Chapter 6: Etruscan and Roman Art - Roman Sculpture
- 29 March 07, 2016
63916
Phillip the Arab
AD 244-249
Marble, life-size,
Vatican Museums,
Rome
Phillip the Arab
244-49 AD
Among most powerful likenesses in art
Facial realism = as uncompromising as Republican
portraiture
Aim = expressive rather than documentary
Dark passions of human mind
fear, suspicion, cruelty
= revealed w/ directness that is almost
unbelievable
face mirrors violence of the time
facial tension = worried
had been head of the imperial guard
psychological nakedness- physical & spiritual
Technique =
expression centers of the eyes- gaze at unseen but
powerful threat
new =
graven out pupils
hollowed out pupils
|
|
help fix
direction of gaze
sidelong upward glance
quizzical lips
tightened jaw muscles
beard = unclassical
beard replaced by unshaven look, short chiseled
strokes
Depends on effects of light
Earlier portraits = carved individual locks of hair
They are represented with
short military haircuts and beards that
replace the flowing locks of the earlier century
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Chapter 6: Etruscan and Roman Art - Roman Sculpture
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J298
Portrait Head
(prob Plotinus). Late
3rd c AD. Marble,
life-size. Museum,
Ostia
Portrait Head (prob Plotinus)
3rd c AD
diff aspect of 3rd c crisis
his thinking = abstract
speculative
strongly tinged w/ mysticism
= retreat from concern with outer world
= seems closer to Mid Ages than Classical trad of
Greek philosophy
Came from same mood that spread Oriental mystery
cults throughout Roman empire
Intense eyes
tall brow may portray inner qualities more
accurately than outward appearance
Plotinus was contemptuous of the imperfections of
physical world
He refused to have portrait done of himself
Body was already an imperf likeness
Why create a more awkward likeness of a likeness
This view
= predicts end of portraiture as we know it
If physical likeness = worthless
then portrait is only meaningful as visible symbol of
spiritual self
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G6-94A
Tetrarchs
Roman
early 4th c AD
St Mark's Venice
51" tall
Chapter 6: Etruscan and Roman Art - Roman Sculpture
- 31 March 07, 2016
Tetrarchs (G6-84)
Early 4th c AD (305 CE)
illustrates the profound changes that were taking
place in the Late Empire.
Porphyry = purple stone from Egypt reserved for
Imperial use
extremely hard stone
During 3rd c
began to emphasize the symbolic or general
qualities of their subjects
expressed in simplified geometric forms
represents the
four co -rulers that
Diocletian had established
to rule the Empire;
himself and Maximian,
Galerius and Constantius Chlorus,
the father of Constantine.
Military garb, swords
Beards = Augustus
Clean shaven = caesars
Embrace each other -- Imperial unity
Peace through concerted strength and vigilance
The figures are extremely rigid and
details of faces and costume are only
schematically represented.
The new artistic style can be seen in the relief carvings
on the Arch of Constantine (G6-97), which was
erected a few years later.
During 3rd century,
Roman artists lost
interest in representing
natural world
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Chapter 6: Etruscan and Roman Art - Roman Sculpture
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During the fourth century
the style was further exaggerated.
G6-93
Constantine the
Great
c AD 330. Marble,
approx. 8'6" high.
Palazzo dei
Conservatori, Rome
Head of Constantine
c 330 AD
rigid frontality
staring eyes,
take the emperor out of our time and space into
another strangely rigid world.
originally a part of colossal statue which stood in
Basilica of Constantine
Superhuman, not because of enormous size but as
image of Imperial majesty
radiant eyes
massive, immobile features
does not tell us much about Constantine's actual
appearance
but great deal about how he
viewed himself and his office
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The new artistic style can be seen in the relief carvings
on the Arch of Constantine (G6-97), which was
erected a few years later.
G6-95
Arch of Constantine,
Rome, AD 312-315
Arch of Constantine
erected near Colosseum (312- 315 AD)
follows the traditions
established by earlier arches of triumph,
Triple -arched design being
based on an arch
erected by Septimius Severus in early 3rd c
followed the trad of earlier imperial monuments,
& literally took from them
for he decorated his arch
with panels originally carved for monuments
erected by Hadrian,
Trajan, and Marcus Aurelius.
likenesses reworked
into likeness of
Constantine
due to haste & poor
quality of sculptural
workshops of Rome at
the time
Conscious plan in way earlier pieces were planned &
employed
The frieze above & below lateral opening was carved
by artists of Constantine's own time.
= Constantine after entry into Rome 312 AD
addressing Senate & people from the rostrum in
the forum
decline in artistic quality painfully apparent.
little squat figures = same height,
placed in rows - back row elevated.
2nd row = simply row of heads
large heads
dwarfish bodies- thick stubby legs
lack of articulation
contrapposto has disappeared
no longer stand freely by own muscular effort- they
dangle
Medallions =
Hadrian's time
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Chapter 6: Etruscan and Roman Art - Roman Sculpture
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G6-96
Reliefs from the Arch
of Constantine:
medallions, AD 117138; early 4th c AD.
Marble, frieze approx.
40" high.
TRAJAN
Avoids devices dev since 5th c
for creating depth
no oblique lines
No foreshortening
Only barest ripple of movement in listening crowds
Architecture flattened against relief background
Becomes solid impenetrable surface
rostrum & people beside at form a 2nd equally shallow
layer
G6-97
Detail of the
frieze shown in
G6-96
The heads are uniform,
the hand gestures repetitive.
drill is used schematically
to depict the drapery folds,
and the figures are flattened.
There is no sense of action; rather the figures seem to
be frozen into some sort of symbolic ceremony
More primitive expression than classical
BUT appearance is too consistent within itself to be a
clumsy attempt at earlier relief
Not return to archaic
Dominant feature here = self sufficiency
scene fill available area
Background building = same height
Imposed abstract order upon world of appearances
mid 3rd= rostrum w/ Constantine & entourage
rest = listeners
& buildings that identify Roman forum
Symmetry - clear unique status of emperor
Constantine = full faced (head knocked off) other
figures heads turn to him express dependent
relationship
Frontal pose = position of majesty reserved for
sovereignty, human or divine
Frontal seated figures at ends of rostrum = statues of
emperors
same "good emperors" elsewhere seen-Hadrian & Marcus Aurelius
New vision will become basic to dev of Christian art