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Roman Art: Alan Petersen: The Art of Rome Gardner Art History

Roman Art: Alan Petersen: The Art of Rome Gardner Art History. Etruscan Art (800 – 600 BCE). Etruria was a confederacy of twelve states. They traded with the Greeks, and in that way Greek ideas, art and design concepts were incorporated into their culture with interesting variations.

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Roman Art: Alan Petersen: The Art of Rome Gardner Art History

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  1. Roman Art: Alan Petersen: The Art of Rome Gardner Art History

  2. Etruscan Art (800 – 600 BCE) Etruria was a confederacy of twelve states. They traded with the Greeks, and in that way Greek ideas, art and design concepts were incorporated into their culture with interesting variations. Livy and Virgil say that the Etruscans emigrated from Troy following it's fall. (see The Aeneid.) They may have been indigenous to the region or made up of migrating people who moved into the area. By 200 BCE Etruscan culture was regarded as legendary by the Roman people.

  3. Temples for the Etruscan Gods: Model of a typical Etruscan temple of the sixth century B.C., as described by Vitruvius. Istituto di Etruscologia e di Antichita Italiche, Universita di Roma, Rome.

  4. An Epic Contest on a Rooftop: One example of these rooftop statues is the life-size image of Apulu from a temple in the Portonaccio sanctuary at Veii. This Apollo originally decorated the roof of a temple a type of architectural sculpture called an acroterion. Apulu (Apollo), from the roof of the Portonaccio Temple, Veii, ca. 510–500 B.C. Painted terracotta, approx. 5' 11" high. Museo Nazionale di Villa Giulia, Rome.

  5. Dining in the Afterlife: A sarcophagus made of terracotta was shaped into a life-sized banqueting couch on which recline a man and woman. These figures, a loving, married couple, lie together on banquet couch. They look as if they will carry on their party into the afterlife in the company of the friends and family who may share their tomb or reside in a nearby tomb Sarcophagus with reclining couple, from Cerveteri, ca. 520 B.C. Painted terracotta, approx. 3' 9" high. Museo Nazionale di Villa Giulia, Rome.

  6. Necropolis at Cerveteri: The Etruscans built large necropoli, sometimes with hundreds of tombs.These were located outside of the cities of the living.The tombs are beneath a mound of earth called a tumulus and were carved from the tufa (soft, volcanic rock) that underlies much of the region. Many are large and complex. They are arranged in a very orderly manner Necropolis at Cerveteri7th - 2nd c. BC

  7. Houses for the Dead: Banditaccia Necropolis, Cerveteri, seventh to second centuries B.C.

  8. Tomb of the Relief: c. 300, BCE, rock cut The interiors are highly painted and decorated depicting scenes of everyday life and banquets and partying. There are also depictions of tools and objects from everyday life. They give us a good look at Etruscan life.

  9. Etruscan Dreamscapes: Tombs were for the whole family and its servants. A single tomb may have served many generations of a family. The sarcophagi would have lined the raised platforms. Here the gathered generations eating and drinking together were linked forever.Look at how lively and animated this scene is. Diving and fishing, detail of mural paintings in the Tomb of Hunting and Fishing, Tarquinia, ca. 530–520 B.C.

  10. A Tomb Guarded by Painted Leopards: The paintings in The Tomb of the Leopards at Tarquinia are characteristic of such Etruscan tomb paintings. Banqueters and musicians, detail of mural paintings in the Tomb of the Leopards, Tarquinia, ca. 480-470 B.C.

  11. Mythical Etruscan Animals: Capitoline Wolf, ca. 500–480 B.C. Bronze, approx. 2' 7 1/2“ high. Palazzo dei Caonservatori, Rome.

  12. Mythical Etruscan Animals: Chimera of Arezzo, first half of fourth century B.C. Bronze, approx. 2' 7 1/2" high. Museo Archeologico Nazionale, Florence

  13. The Mighty Empire Of Rome: The village founded by Romulus on April 21, 753 BC. grew over a period of 900 years to become the capital of the greatest empire the world has ever known. When Athens was at her zenith in the 5th century BC, Rome was still developing as a political and military power. A republic was established in Rome following the expulsion of the Etruscan kings in 509 BC. Power was vested mainly in a senate and in two elected consuls. The Republican Period begins with the dominance of the growing city state of Rome over the Etruscans. It ends nearly five hundred years later with the ascendancy of Octavian Caesar (Augustus) as Emperor after thirteen years of civil war and the defeat of Antony and Cleopatra in 27 BC. At its greatest extent, the Roman Empire stretched from Mesopotamia in the east to Spain in the west, and from North Africa in the south to Britain in the north. The Roman Empire was a "multicultural" entity.

  14. The Craze for Greek Art: During the period of the Republic, the Romans developed a special interest in and taste for Greek art. Roman Temple architecture shows a blending of Etruscan and Greek features, and emphasizes the front of the building. Concrete was heavily used by Roman architects and engineers allowing for large, open, interior spaces. Rather than creating masses, such as the Parthenon, Roman architecture encloses space. Temple of "Fortuna Virilis" (Temple of Portunus), Rome, Italy, ca. 75 B.C.

  15. The Romans vs. The Greeks: The achievements of the Greeks were in the arts, sciences and philosophy. Their achievements had been cerebral and intellectual. The achievements of the Romans were in worldly affairs: in politics, government, law and city planning. They admired the Greeks but dismissed them as impractical. The Romans had a gift for running and maintaining the empire they created. Today we still have many Roman institutions in our culture, law, rituals, and language. Roman leaders and artists looked at Greek art and architecture as a model for an art that would serve their leaders, their large urban centers and their far-flung empire. Aulus Mettelus1st c. BCE bronze, 5'7" h.

  16. A Round Temple on a Cliff: The form of the Temple of "the Sibyl" is derived from the Greek round or tholos temple type. Temple of "the Sibyl" or of "Vesta," Tivoli, Italy, early first century B.C

  17. Sculpture of the Republic: The Social Context of Portraits: Roman Republican sculpture is noted for its patrician portraits employing a hyper-realism derived from the patrician cult of ancestors and the practice of making likenesses of the deceased from wax death-masks. In the funerary relief, figures are shown bust-length (cut off at the base of the chest) in the Etruscan tradition. Funerary relief with portraits of the Gessii, from Rome (?), Italy, ca. 30 B.C. Marble, approx. 2' 11/2" highCourtesy of Museum of Fine Arts, Boston

  18. Head of a Roman Patrician: Unlike the idealization of Greek sculpture, Roman sculpture is very realistic, trying to capture the essence of the subject. It is based in the tradition of making busts from death masks. The portraits are almost painfully accurate, described as veristic - or super realistic. Busts such as this would be kept in the home in a special alcove called the tablinum. Just as in the Etruscan tombs, the contemporary generation would always be in close touch with those of earlier ones. from Otricoli, Italy, c.80 B.C. Marble, approx. 14" high. Museo Torlonia, Rome.

  19. Patrician With Busts of His Ancestors Patricians were land owning members of the Roman upper class. Portrait bust and full figures such as this one illustrate the Roman reverence for age and wisdom.

  20. An Old Man's Head on a Young Man's Body: It was also the practice in sculpture during the Republican period to place portrait heads on youthful, heroic bodies. Portrait of a Roman general, from the Sanctuary of Hercules, Tivoli, Italy, ca. 75–50 B.C. Marble, approx. 6' 2" high. Museo Nazionale Romano-Palazzo Massimo alle Terme, Rome.

  21. Pompeii And The Cities Of Vesuvius Buried by a Volcano: Pompeii was destroyed in the eruption of Vesuvius in A.D. 79. So much of the city has been preserved that it has been called a "living city of the dead." Eyewitness Description of the Eruption: Pliny Letter VI.16Pliny Letter VI.20

  22. The Heart of Pompeii: The typical Roman town was planned originally with a centrally located public square or civic center (forum) located at the intersection of the main north-south street, the cardo, and the main east-west street, the decumanus. Aerial view of the forum, Pompeii, Italy, second century B.C. and later.

  23. Street in Herculaneum:

  24. Plan of Roman House A domus, or single-family house, had a plain exterior; the focus was on the interior spaces. Once the visitor was inside the first entry, they would be faced with a much more ornate, grandiose entry designed to impress them with their hosts’ wealth and power. Around the street-side perimeter of the home, there are shops that would be rented out. This served two important functions: - to buffer noise from the street and to provide rental income.

  25. The House of Vetti: Many owners of homes like these were vineyard owners and exporters. They would have offices in their homes and would have used the peristyle for impressing their customers and other business associates. You can see that the peristyle court would be a very pleasant place to spend a hot summer day. There are potted plants and gardens with pools and fountains. Atrium of the House of the Vettii, Pompeii, Italy, rebuilt A.D. 62–79.

  26. The Atrium of the House of the Vettii This view is from the atrium through the tablinum and into the peristyle court. In this view you can clearly see the impluvium below the atrium opening. Upper class Roman homes like this were very practical and designed with close attention to the climate and environment.

  27. A Home for Gladiators: Pompeii also had an amphitheater. The amphitheater, Pompeii, Italy, ca. 80 B.C.

  28. Brawl in the Pompeii Amphitheater Brawl in the Pompeii amphitheater. wall painting from House I,3,23, Pompeii, Italy, ca. A.D. 60–79. Approx. 5' 7" X 6' 1". Museo Nazionale, Naples.

  29. Painted Walls Everywhere

  30. The First Style and Greek Mural Painting: Paintings of the First Style enhance the flatness of the wall with painted panels that imitate masonry. Walls are divided into flat panels. Surfaces are painted to imitate marble and other expensive stone veneers that might actually be applied in upper classes homes.  Roman artists and patrons may have adopted the style from Greek wall paintings. This is one of many ways that Roman artists and patrons indicated their love for Greek art and architecture. First Style wall painting in the fauces of the Samnite House, Herculaneum, Italy, late second century B.C.

  31. The Second Style and the Triumph of Illusionism Second Style paintings are illusionistic and naturalistic. The paintings create the illusion of space, as if the viewer were looking through a window outdoors or through an opening into another room.  Scenes may be life-sized and make very effective use of light and shade.  Painters developed a form of linear perspective, but, it is not as consistent as the mathematical model for perspective developed by Brunelleschi in the 15th c.  "Sacral - Idyllic Landscape"  From Pompeii, c. 62- 79 CE.  

  32. Odysseus in the Underworld

  33. Perspective Painting in Antiquity The Second Style painting in Cubiculum M of the Villa of Publius Fannius Synistor shows "picture-window" vistas with illusionistic architecture on side and back walls. The buildings are piled one above the other and painted in pastel colors. The vistas of colonnades and temples appear on the rear wall.

  34. Perspective Painting in Antiquity: Sacred precincts with images of Diana-Lucina (goddess of the moon) and Hecate (ruler of the night), each flanked by picturesque architectural vistas, appear near the room's entrance.

  35. An Empress's Painted Garden: The Second Style wall painting from the Villa of Livia, Primaporta, shows a continuous illusionistic gardenscape on all four walls. Gardenscape, Second Style wall painting from the Villa of Livia, Primaporta, Italy, ca. 30–20 B.C. Approx. 6' 7" high. Museo Nazionale Romano, Rome.

  36. Dionysiac Mysteries at a Pompeian Villa: This room in the "Villa of the Mysteries" with it's expansive fresco program may have been used for private celebrations of the rites of the Greek god Dionysus. The Dionysiac Mysteries are celebrated in a continuous frieze running round all four walls of the room. The life-size figures appear as if on a shallow ledge against a backdrop of painted panels. Villa of the Mysteries, Pompeii, c. 60 - 50 B.C.E.

  37. The Third Style: Elegance and Fantasy: The Third Style shows delicate linear fantasies against monochrome backgrounds. Cubiculum 15 of the Villa of Agrippa Postumus is decorated with elegantly attenuated architectural forms that frame small, floating landscapes. The painting from the Vatican Virgil shows framed panels with atmospheric landscapes. Detail of a Third Style wall painting from Cubiculum 15 of the Villa of Agrippa Postumus, Boscotrecase, Italy, ca. 10 B.C. Approx. 7' 8" high. Metropolitan Museum of Art, New York.

  38. On the Eve of the Eruption: In Fourth Style wall paintings, the lower zone (dado) has geometric panels. The middle section has larger panels with architectural views in perspective. Monochrome panels are decorated with delicate floral borders with figures of maenads and satyrs floating in the center. Figurative panels with mythological scenes, and elaborate architectural scenes in perspective appear at frieze level. Fourth Style wall paintings in the Ixion Room (Triclinium P) of the House of the Vettii, Pompeii, Italy ca. A.D. 70–79.

  39. Greek Myths on Roman Walls: The panel of Neptune and Amphitrite is framed by a scalloped pattern of sea shells. Different hues of blue set the main tone. The figures of Neptune and Amphitrite stand in a pentagonal panel of gold tesserae under a shell-like canopy. Neptune stands with a blue cloak draped over his left shoulder and right arm holding a golden trident; he has a tanned and youthful body but white hair and beard. His pose is inspired by Greek statues of Poseidon. Amphitrite, his consort, leans on a pillar. She raises her blue cloak with her right hand while holding a scepter in her left hand. Her pose imitates a Greek statue of Venus. Neptune and Amphitrite, wall mosaic in the summer triclinium of the House of Neptune and Amphitrite, Herculaneum, Italy, ca. A.D. 62–79.

  40. Private Portraits: The house in which the portrait of a husband and wife was found was first thought to have been owned by Paquius Proculus, a baker. Later (in 1926) the owner was identified as Terentius Neus, a lawyer. Portrait of a husband and wife, wall painting from House VII,2,6, Pompeii, Italy, ca. A.D. 70–79. Approx. 23" X 201/2". Museo Nazionale, Naples.

  41. Painting the Inanimate: This detail of a larger fourth style painting is a nice example of Roman artists' intense desire to accurately describe their world. The painting shows a keen sense of the observation of the different qualities of light and how they affect forms Still life with peaches, detail of a Fourth Style wall painting from Herculaneum, Italy, ca. A.D. 62–79. Approx. 14" X 131/2". Museo Nazionale, Naples.

  42. The Early Empire Antony and Cleopatra Vanquished: In 31 B.C., Octavian defeated Mark Antony in the Battle of Actium and became the undisputed master of the Roman world as the emperor Augustus. The battle signaled the end of the absorption of the Hellenistic kingdoms into the Roman Empire. The old Roman Republic ended in 27 B.C. when the Senate conferred on Octavian the title of Augustus. Pax Romana: The peace and prosperity Augustus brought to the Mediterranean world and which prevailed for two centuries is known as the Pax Romana. During this time a number of public works were commissioned throughout the empire.

  43. Roman Empire in 64 AD

  44. Augustus: The Son of a God Rules Rome:(27 B.C.–A.D. 68) This youthful, vibrant, description of the emperor indicates a new style for depicting Roman rulers. It is quite different from the contemporary veristic depictions of elders that sought to elicit respect for age and wisdom. In fact, portraits of Augustus and Livia show no signs of their aging over the course of their lifetimes. The youthful image of Augustus is very much based upon Classical Greek sculpture. Augustus as general, from Primaporta, Italy, ca. 20 B.C. Marble, 6' 8" high. Vatican Museums, Rome

  45. IMAGES of THE EMPERORS Julius Caesarportrait bust Augustusportrait bust

  46. A Never-Aging Empress: The idealized portrait of Livia is derived from images of Classical Greek goddesses. Unlike the earlier Roman portrait tradition that honored age and painful realism, portraits of Augustus (and his lovely wife Livia - to the right here) always portray them as in the peak of youth and health.Augustus's first marriage ended in divorce. He had one daughter, Julia, from that marriage and never was able to have a male heir. In 38 BCE he took Livia as his second wife. She was one of the most powerful women in the history of Rome and served as an advisor to Augustus. Portrait bust of Livia, from Faiyum, Egypt, early first century A.D. Marble, approx. 131/2" high. Ny Carlsberg Glyptotek, Copenhagen.

  47. The Augustan Peace Commemorated: Ara Pacis Augustae, Rome, Italy, 13–9 B.C. (view from the southwest).

  48. Procession: Imperial Family

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