Statues Reliefs Mosaics

Statues Reliefs Mosaics

Introduction 7/7/2011 2

Romans came into contact with Greek art through imports, imitations and conquest. They looted, purchased, commissioned or copied Greek works of art. The Romans also produced art in the Greek Classical Style this Roman art in the Greek style is known as Classicism. 7/7/2011 3

Greek art is divided into three periods according to time period and the associated style: Archaic Classical Hellenistic Classical art is considered as supreme. 7/7/2011 4

Kritios Boy Archaic Greek statues are typified by their patterned hair, archaic smile, and leaning forward on the right foot. 7/7/2011 5

Athena Parthenos (Nashville copy) Classical sculpture is typified by: Calm expression on the face. Naturalistic pose and drapery Deeply carved and rhythmic drapery Body revealed beneath drapery. Spatial depth 7/7/2011 6

Laocoon and his two sons Hellenistic sculpture is typified by: Emphasis on technique Riotous drapery Landscape in background Expression of emotion and passion on the face of the subject. A more dramatic effect. 7/7/2011 7

Etruscan: Ashes were placed in urns with a human head on the lid. 7 th Cent. carved full length reclining figures on tombs 6 th Cent. Images of the dead began to have specific individual features. From 4 th Cent. statues and busts became more naturalistic. 7/7/2011 8

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Greek: At first, portraits were generalised or idealised. Hellenistic realistic portraits were often painted. Copies of Greek sculpture were in demand by Romans. Skilled Greek artists were employed in Rome. 7/7/2011 10

Roman: Customary to have wax masks of dead ancestors faces. Bronze or marble copies of the death masks were made so that these ancestral images (imagines) could be displayed. Patrician class alone had the right to have these images (ius imaginum) They reproduced features of the deceased and displayed familial lines, especially notable ancestors. 7/7/2011 11

Verism: The realistic depiction of the individual human face: Mainly male Middle aged Showing qualities of age experience, wisdom, dignity, firmness, duty. Warts and all style with details of the skin and bone structure. 7/7/2011 12

Idealism: The facial features are simplified. Shows an idealised or godlike person. Usually the emperor. 7/7/2011 13

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Patrician Carrying Busts Commodus as Hercules Philip the Arabian 7/7/2011 15

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Man wearing toga Holding ancestral busts Busts are old men, therefore ancestors not descendents Represents a patrician in funeral procession Considered date: late 1 st Cent. BC early 1 st Cent. AD 1.65 m high 7/7/2011 17

A marble life-size statue of a man on a base, dressed in a tunic and toga. The head of the man is not the original He holds a bust ending below the neck in each hand, with a palm trunk supporting the bust in his right hand. 7/7/2011 18

The bust in the right hand is presumably that of his father, who has grooves from the nose to the lips, a thin tightly closed mouth, severe look and short thin hair 7/7/2011 19

The head in the left had is presumably that of his balding grandfather. He has bags under his eyes and wrinkles in his neck. 7/7/2011 20

Realistic or veristic: wrinkles, creases, furrows in the forehead, bone structure lack of hair The faces show strength of character, age and experience. Eyes are lacking carved pupil and iris these would have been painted on. No beards or moustaches; incision, not drilling, for hair. 7/7/2011 21

The portrait (of the deceased) is a mask which is wrought with the utmost attention being paid to preserving a likeness in regard to both its shape and its contour. Displaying these portraits at public sacrifices, they honour them in a spirit of emulation and when a prominent member of the family dies, they carry them in the funeral procession, putting them on those who seem most like (the deceased) in size and build. (Polybius VI. 53, translated by J.J. Pollit, 1983, p.53) 7/7/2011 22

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Son of Marcus Aurelius and Emperor from AD 180 to AD 192. Accompanied his father in war against the Sarmatians and kept peace on the Danube. Saw himself as roman hero Hercules coins and inscriptions C.f. Alexander the Great. Took part in Gladiatorial Games, especially animal hunts. The bust dates from c. AD 190. 7/7/2011 24

Torso supported by two crossed cornucopiae and a shield with eagle heads at each end. The cornucopiae are resting on a glove with a kneeling cloaked Amazonian warrior on each side. 7/7/2011 25

Emperor is clad in Lion skin, with paws tied around the chest. His head is framed by the head of the lion: Upper jaw above the head Lower jaw broken in two and around his ears 7/7/2011 26

He is holding a club in his right hand, with visible knotting. In his left hand are three apples, with part of the lionskin draped over his forarm. 7/7/2011 27

In the guise of Hercules, it gives the message of Commodus is a saviour of mankind, a heroic/divine figure, worthy of portrayal as Hercules. Each of the elements on the Emperor relate to Hercules and his Twelve Labours. Commodus had defeated the Sarmatians, the legendary home of the Amazons. He therefore deserved the immortality given by the Apples of the Hesperides. Commodus has brought a new Golden Age cornucopiae overflowing with prosperity and abundance. The shield has the head of Medusa. The globe is encircled with a band showing Taurus, Capricorn and Scorpio (moments in his life?) 7/7/2011 28

Idealised a sensitive psychological representation of what M. Wheeler calls a sadistic pervert Eyes Incised ring for the iris Shallow drilled holes for pupils reflects light Heavy upper lid which droops Eyes upturned with arched eyebrows, gazing to one side 7/7/2011 29

The mouth Short full lower lip Turned down The Hair Deep drilling for the curls of the hair and beard create shadows Rhythmical waves to the hair Full beard adds effect of imperial majesty. Cf. modelled hair The Chest Gleaming white marble skin, smooth and muscled 7/7/2011 30

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Commander in the army of Gordianus III in the Persian campaign in Mesopotamia. Became emperor AD 244 after Gordianus died in battle. Had problems with the Goths Celebrated the 1000 th anniversary of founding of Rome. He and his son were killed by his own men at the battle of Verona in AD249. Bust is dated to AD244-249 7/7/2011 32

A deep bust of the emperor Philip wearing a Roman citizen s a roman citizens trabeated toga which has a broad, flat band across the chest. His head is tilted and turned to the right, the eyes look upward, as if for divine inspiration. He has a close-cropped beard and moustache and trimmed neat hair. 7/7/2011 33

Is Philip weak or shifty, or a concerned and thoughtful leader. Wheeler: furtive, shifty, opportunistic based on history. Hannah: expression reveals caring for the empire under stressful times. Campbell: mutineer and usurper. Seized power in military coup. All aspects of his face show strength of character, determination and concern. 7/7/2011 34

Realistic/Veristic Eyebrows over hang Deep lines from big nose to lips Closed full mouth Furrowed forhead Syrian origins shown with big nose, high cheekbones, solid jawline. Hair is chiselled not drilled. Pupils are hollowed and iris incised. 7/7/2011 35

Ara Pacis Augustae Arch of Titus Trajan s Column Arch of Constantine 7/7/2011 36

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The Altar of Augustan Peace was built to commemorate Augustus s return from Spain and Gaul. It was erected on the Campus Martius in Northern Rome. It is based on Greek designs (cf. Altar of Pity in the Agora of Athens, 5 th Cent.). The materials however are all Italian in origin. 7/7/2011 38

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The entire structure consists of an enclosing wall, with a small altar on raised on a set of steps. The interior and exterior are adorned with intricate reliefs. Each section deals with a different subject matter. 7/7/2011 40

Small frieze representing a sacrificial procession. Topped with scroll work 7/7/2011 41

The wall is divided into two registers: The lower register is representative of wood panelling, possibly echoing the temporary wooden structure present prior to the altar s construction. The upper register depicts sacrificial icons: Garlands, ox skulls and libation bowls. 7/7/2011 42

North Wall South Wall 7/7/2011 43

East Wall WestWall 7/7/2011 44

Use the reading provided and the text book to make notes about: Content Comparisons Possible themes and intent 7/7/2011 45

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Triumphal arch to celebrate the victory in AD70 over the Jewish revolt in Judea. 7/7/2011 47

Stands on the Via Sacra. A single arch supported by two pilars with an entablature and attic above. Much of the outer halves are 19 th Cent. restorations. Façade: Engaged columns with composite capitals Inscription on the east side of the Attic: SENATUS POPULESQUE ROMANUS DIVO TITO DIVI VESPASIANI E VESPASIANO AUGUSTO This is the only way of dating after deification of Titus in AD81. 7/7/2011 48

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Reliefs of winged women. Personification of victory Figures of male (west) and female (east). Significance doubtful 7/7/2011 51

Set within the archway on the inner sides of the piers and the vault. The vault is coffered with mouldings and rosettes. In the centre is Titus on an eagle ascending to heaven in his apotheosis. 7/7/2011 52

Titus in his triumphal chariot Attended by divinities and lictors 7/7/2011 53

More of the procession Men carrying the spoils of the war Sacred objects from the Temple in Jerusalem including the great Menorah. 7/7/2011 54

The purpose of the arch is obvious from its sculptural decoration. It is worth recalling that the arch is set astride the Sacred Way and, unlike other arches, was made to be walked under. It is then quite fitting that the reliefs should represent parts of Titus s procession along this road, and that the major reliefs should be placed on the interior of the archway. 7/7/2011 55

Wheeler comments on the treatment of perspective (p190) and is ill-disposed towards the depiction of the chariot. Others point out the sense of space and depth is apparent in the south panel: The upper part is relatively empty, cf. Ara Pacis processions. Both panels exhibit a sense of movement by the placement of the dominant figure towards the east of the panels. The depth of the panels increases towards the centre, as if the procession is swinging round a bend. 7/7/2011 56

Realism Expression on faces Cushions to shoulder burden Bent knees under weight Depth & Movement Receding planes high relief vs low relief Facing one direction Background on North full of fasces Contrast Clear space around treasures Clear space around Titus s head Mix of divine and mortal figures 7/7/2011 57

Who honoured Titus with the Arch and when was it built? How do we know? What is depicted in the vault and what is its significance. Explain what is happening in both reliefs and give specific examples from the relief. Discuss, with examples, FIVE artistic devices used by the sculptor. Public monuments erected during the Roman Empire are designed primarily to impress the viewer rather than fulfil a useful function. Discuss this statement with reference to the Arch of Titus. 7/7/2011 58

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Constantine became the sole emperor of the west by defeating Maxentius at the Battle of the Milvian Bridge, AD312. The Senate decreed the arch to be built whilst he was still alive. Inscriptions over the side arches indicate it was completed in AD315 (the tenth year of his reign) Copies the arch of Septimius Severus and was the last built. Dimensions: 21 m high, 25.7m wide, 7.4m deep. Central arch 11.5m high, 6.5m wide Side arches 7.4m high, 3.36m wide 7/7/2011 60

http://theeyegame.com/deepzoom/archofconstantine 7/7/2011 61

Burney, A. et al. NCEA Level 3 Classical Studies. ESA Publications (NZ) Ltd, Auckland. 2006. Campbell, J. Roman Art and Architecture from Augustus to Constantine. Addison Wesley Longman New Zealand Ltd, Auckland. 1998. Wheeler, M. Roman Art and Architecture. Thames & Hudson, 1964. 7/7/2011 62