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Gardner’s Art Through the Ages, 13e

Gardner’s Art Through the Ages, 13e. Chapter 9 The Etruscans – Study Guide. Figure 9-3 Model of a typical sixth-century BCE Etruscan temple, as described by Vitruvius. Istituto di Etruscologia e di Antichità Italiche, Università di Roma, Rome. COMPARE/CONTRAST Materials Design.

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Gardner’s Art Through the Ages, 13e

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  1. Gardner’s Art Through the Ages, 13e Chapter 9 The Etruscans – Study Guide

  2. Figure 9-3 Model of a typical sixth-century BCE Etruscan temple, as described by Vitruvius. Istituto di Etruscologia e di Antichità Italiche, Università di Roma, Rome. • COMPARE/CONTRAST • Materials • Design Figure 5-44 IKTINOS and KALLIKRATES, Parthenon, (Temple of Athena Parthenos, looking southeast), Acropolis, Athens, Greece, 447–438 BCE. Etruscan temple sculpture was located on the roof peak and not on a frieze. The temple was set on a podium and had a deep recessed porch. The Etruscan temple was made of wood and brick. The Parthenon included a sculptural program. It was part of the pedimental structure and not a freestanding element as seen in the Etruscan temple. Perhaps the important change and adaptation is the overall aesthetic vision each structure represented. The identity of the Parthenon was sculptural whereas the Etruscan temple was a shelter for the gods. It was a home for the gods. Its identity was architectural. 2

  3. Figure 9-4 Apulu (Apollo), from the roof of the Portonaccio temple, Veii, Italy, ca. 510–500 BCE. Painted terracotta, 5’ 11” high. Museo Nazionale di Villa Giulia, Rome. • One example of these rooftop statues is the life-size image of Apulu (Apollo) from a temple in the Portonaccio sanctuary at Veii. • ca. 510–500 B.C. Painted terracotta, approx. 5' 11" high • Paint & drapery is reminiscent of the Korai. • However much more lively & animated than the Greek statues-demonstrates the Etruscan power through its massiveness and energy. • This shows that the Etruscans were influenced by the Greeks, but did not fully adapt to their style. • Apulu of Veii has the animated face, swelling contours, and gesticulating arms characteristic of Etruscan works. • Expressive and emotional. 3

  4. Figure 9-11Capitoline Wolf, from Rome, Italy, ca. 500–480 BCE. Bronze, 2’ 7 1/2” high. Musei Capitolini, Rome. • One of the most memorable portrayals of an animal in history. • Larger than life size portrayal of a she-wolf. • Nursed Romulus and Remus after they were abandoned as infants • When the twins grew to adulthood they quarreled and Romulus killed his brother. • On April 21, 753 BCE Romulus founded Rome and became the cities king. • The defiant image became the new government totem and has remained the emblem of Rome to this day. What is this artwork? And why is it important? 4

  5. To the left of the city hall, you will see a little-noticed column and an important symbol of Rome: the Capitoline She-Wolf! This is a stone copy of an original Etruscan bronze that you can see inside the museum. The figure of Romulus and Remus were added later. Here is the legend of Romulus, Remus, and the foundation of Rome. Amulius was a wicked king that was ruling the kingdom of Alba Longo. He had a brother, Numitor, that he fought and sent into exile. Numitor's daughter, Rhea Silvia, was forced to become a Vestal, and thus, not allowed to marry or have children. Mars, the God of War, saw her and fell in love. Soon enough, Rhea Silvia gave birth to twin boys. Furious, Amulius ordered the babies to be thrown in the Tiber. The slave that had to carry the task couldn't do it and just left the babies' basket to float. A she-wolf that had just lost her cubs saw the basket, and out of curiosity, reached for it and saved the boys. She looked after them for a while, the babies feeding on her milk. One day, a shepherd called Faustulus saw the boys with the wolf and brought them back home. He and his wife adopted them and named them Romulus and Remus. When grown, the boys became shepherds like their adopted father. When guarding their sheep, Remus had a fight with a shepherd that was tending to Numitor's sheep. He was arrested and brought before Numitor. He had Remus tell his whole story and realized that he and his brother were his grandsons. Later, Romulus and Remus attacked their great uncle Amulius and killed him. Numitor moved into Alba Longa, and the twins were living with him. However, they were missing their previous lives and decided to go to the spot where Faustulus found them and build a city of their own. Romulus favored the Palatine Hill, while Remus wanted to build on the Aventine. They could not agree and decided to build a city each. While Romulus was tracing the limits of his city, Remus came by and made fun of how easy it was for someone to breach the walls of this city and jumped over the line Romulus had just traced. This was an act of an aggression and whoever did it had to be put to death, so Romulus killed his brother. However, as a tribute to Remus's memory, he called his city Rome.Based partially on fact, Romulus is thought to have been the first king of Rome around 753 BC. Story of Romulus and Remus

  6. Figure 9-12Chimera of Arezzo, from Arezzo, Italy, first half of fourth century BCE. Bronze, 2’ 7 1/2” high. Museo Archeologico Nazionale, Florence. More info: http://www1.unifi.it/surfchem/solid/bardi/chimera/chimarezzo.html • Chimera of Arezzo. • Century later than the Capitoline Wolf. • Chimera is a monster of Greek invention with a lions head and body and a serpent’s tail. • Second Head (Goat) grows out of the lions left side.Goat’s neck bears the wound of the Grek hero Bellerophon inflicted when he hunted and slew the composite beast. • The Chimera echoes the ferocious nature of the wild beast seen in the Capitoline Wolf. It is wounded yet still defiant, still ready to engage in combat to the death. • expressive and emotional. 6

  7. Figure 9-13 NOVIOS PLAUTIOS, Ficoroni Cista, from Palestrina, Italy, late fourth century BCE. Bronze, 2’ 6” high. Museo Nazionale di Villa Giulia, Rome. • Cistae - Container made for women’s toiletry articles. • Engravings indicate Rome’s growing power in central Italy • Made of Sheet bronze with cast handles and feet with elaborately engraved bodies • Inscription on the handle states: • Dindia Macolnia, a local noblewoman gave the container to her daughter. 7

  8. Figure 9-13 NOVIOS PLAUTIOS, Ficoroni Cista, from Palestrina, Italy, late fourth century BCE. Bronze, 2’ 6” high. Museo Nazionale di Villa Giulia, Rome. Figure 9-5 Sarcophagus with reclining couple, from Cerveteri, Italy, ca. 520 BCE. Painted terracotta, 3’ 9 1/2” X 6’ 7”. Museo Nazionale di Villa Giulia, Rome. How do these works reflect the status of women? The sarcophagus shows the wife joining her husband at the banquet and participating in the event. She is not segregated and isolated as in Greek society. The cista illustrates the status of women in Etruscan society. Dindia Macolnia is commissioning this work for her daughter, independent of her husband. It points to the ability of the Etruscan woman to interact within her society as an integrated member rather than as an appendage of either her husband or her father GENDER IN ART 8

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