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1 2 Is it GREEK Or is it ? ROMAN 3 GREEK ROMAN Preferred Structure: Temples to Glorify Gods Civic Buildings to honor Empire Walls: Made of cut stone blocks Concrete with Ornamental facing Trademark Forms: Rectangles, Straight Lines Circles, Curved Lines Support System: Post and Lintel Rounded Arch Column Style: Doric & Ionic Corinthian Sculpture: Idealized Gods & Goddesses Realistic (Verism) humans, idealized officials Painting: Stylized figures floating in Space Realistic images with perspective Subject of Art: Mythology Civic Leaders, military 4 triumphs Temple of Athena Nike Classical Greek Temple of Portunus Rome, Italy - ca. 75 BC 5 PARTHENON Greek PANTHEON Rome 6 Athena and Alcyoneus frieze from the Altar of Zeus at Pergamon, c.180 BCE. HELLENISTIC GREEK Spoils from the Temple of Solomon, Jerusalem. Relief on the Arch of Titus EARLY EMPIRE ROME 7 Republic Rome Temple of Portunus Rome, Italy - ca. 75 BC A superb example of Roman eclecticism is the Temple of Portunus, the Roman god of harbors. Follows the Etruscan pattern: •High podium is accessible only at the front, with its wide flight of steps. •Freestanding columns are confined to the deep porch. •The structure is built of stone overlaid originally with stucco in imitation of the white marble temples of the Greeks. •The columns are Ionic, complete with flutes and bases. Model of a typical Etruscan Temple 6th Century BC 8 Republic Rome Temple of “the Sibyl” or of “Vesta” Tivoli, Italy - early first century BC The Romans’ admiration for the Greek temples they encountered in their conquests also led to the importation of the round temple type. The travertine columns are Corinthian. In contrast with Greek practice, the cell wall was constructed not of masonry blocks but of a new invention: concrete. 9 Republic Rome Aulus Metellus Late 2nd - early 1st century BC Artists of the Republican Period sought to create very realistic images of their rulers. Dressed in the traditional draped toga, Aulus Metellus poses with authority and persuasiveness. 10 Republic Rome Funerary Relief with Portraits of the Gessii Rome (?), Italy - ca. 30 BC The surviving sculptural portraits of prominent Roman Republican figures are uniformly literal reproductions of individual faces. Although their style derives to some degree from Hellenistic and Etruscan portraits, Republican portraits are one way the patrician class celebrated its elevated status. Slaves and former slaves could not possess such portraits, because, under Roman law, they were not people but property. Yet when freed slaves died, they often ordered portraits for their tombs - in a style that contrasts sharply with that favored by freeborn patricians. This image depicts former slaves who have gained their freedom and right to have their portraits created. 11 Republic Rome Octavian Caesar (the great-nephew and adopted ‘son’ of Julius Caesar) became the first Roman Emperor in 44BC. By 27 BC, the Senate conferred him the title ‘Augustus’ The inclusion of Venus’ son, Cupid, is a reminder of Augustus’ divine descent (related to Goddess Venus). Furthermore, this depicts the return of Roman military standards by the Parthians. The marble statue was originally painted. Augustus of Primaporta, 12 Early 1st Century BCE Republic Rome Augustus Caesar was elevated to Divine Status after his death (as memorialized with the Ara Pacis)… Here is an onyx cameo of the ‘crowning’ of Augustus as Jupiter – King of the Gods. His adopted son, Tiberius, holds a lance and steps out of the chariot on the left, ready to be the next Emperor. This piece combines: • The idealized heroicism of Classical Greek Art • The dramatic action of Hellenistic Art • The Roman realism and depiction of historical events ca 1st Gemma Augustea, Onyx Century AD, Republic Rome 13 Republic Rome Republican patrician portraits : Head of a Roman patrician, from Otricoli, Italy, ca 75-50 B.C. Mostly men of advanced age (generally these elders held the power in the state) One of the most striking of these so-called veristic (superrealistic) portraits is of an unidentified patrician. We are able to see this man’s personality: serious, experienced, determined- virtues that were admired during the Republic. Kresilas, Pericles Classical Greece 14 Pompeii & the Cities of Vesuvius Aerial view of the amphitheater, Pompeii, Italy, ca 80 B.C. The forum was an oasis in the heart of Pompeii - an open, airy plaza. At the southern end of the town, immediately after the Roman colony was founded in 80 B.C., Pompeii’s new citizens erected a large amphitheater. It is the earliest such structure known and could seat some twenty thousand spectators. The word- amphitheater means “double theater”, and the Roman structures closely resemble two Greek theaters put together, although the Greeks never built amphitheaters. Arena is Latin for “sand”, which soaked up the contestants’ blood. Instead of refined performances, the Amphitheater held mostly bloody gladiator combats. 15 16 Pompeii & the Cities of Vesuvius Dionysiac mystery frieze Pompeii, Italy, ca. 60-50 B.C. Especially striking is how some of the figures interact across the corners of the room. Nothing comparable to this existed in Hellenistic Greece. Despite the presence of Dionysos, satyrs, and other figures from 17 Greek mythology, this is a Roman design. Pompeii and the Cities of Vesuvius Portrait of a husband and wife; Pompeii,Italy AD 70-79 Originally formed part of a Fourth Style wall of an exedra, recessed area on the opening of the atrium of a Pompeian house. Standard attributes of Roman marriage portraits are displayed here with the man holding a scroll and the woman holding a stylus and a wax writing tablet. These portraits suggested high education even if it wasn’t true of the subjects. The heads are individualized to the subject’s features, not simply standard types. This is the equivalent of modern wedding photographs. 18