Roman Art Chapter 7 Flashcards

The Republic was founded in 509 B.C.E, but most of the works that have survived from that period date from about 200 BCE-27 BCE

Temple of Portunus, Rome, c. 80 B.C.E, stone Italic style: stands on a podium and engaged lateral columns emphasize the frontal approach -the Ionic columns have the slender proportions of Classical Greek temples as well as the white marble stucco, which deliberately evoked the translucent marbles used by Greek architects -the practice of borrowing Greek forms began early in the Roman Republic -was constructed by a Greek architect, Hermodorus

Sanctuary of Fortuna Primigenia, early 1^st century -sanctuary to the goddess Fortuna Primigenia -oracular center where priests interpreted divine will by drawing lots -seven levels each with different purposes

Augustus of Primaporta, 20 CE; ROMAN (The Early Empire) Augustus was emperor during the Early Empire -Roman portrait sculpture turned from the earlier veristic style of the Republic to a more classicizing style associated with ancient Greece -until his death, portraits of Augustus depict him as an ageless youth -both the contrapposto stance and the smooth features of his face are strongly reminiscent of Doryphoros from the Greek Classical Age -shows the tendency in Roman art to express a message through references to earlier works (Cupid, dolphin, breastplate) - by associating Augustus with historical or divine figures, these references projected an image of earthly and divinely ordained power, thereby elevating the emperor above other politicians

Scenes of Dionysiac Mystery Cult. Second style wall painting from the Villa of the Mysteries, Pompeii; 60-50 BCE; ROMAN -second style painters sought to open up the flat expanse of the wall by including architectural features and figures - in this painting, parts of it are painted to resemble exotic stone -furthermore, figures interact as if on a narrow ledge set against a deep red background, articulated by upright strips of black resembling stylized columns

Fourth Style wall painting, Ixion Room, House of the Vettii, Pompeii; 63-79 CE; ROMAN fourth style painting = most intricate of the four, uniting aspects of all three preceding styles to create an extravagant effect -combines imitation marble paneling, framed mythological scenes resembling panel pictures set into the wall, and fantastic architectural vistas receding into space

Colosseum, Rome; 72-80 CE -permanent amphitheater in Rome for the gladiatorial games -every second opening was an entrance -genius planning (especially in regards to getting people in and out)

Arch of Titus, Rome, 81 CE; ROMAN -stands at the far eastern end of the Roman Forum -earliest surviving free-standing arch in Rome -could have been a triumphal monument but it is more likely that it commemorates Titus' divinization after his death -reliefs located inside the bay

Relief in bay of Arch of Titus, showing procession of spoils from the Temple in Jerusalem, 81 CE; ROMAN -the panel marks an important move toward illusionism in the portrayal of space - two ranks of figures appear, carved in different levels of relief; background figures seem to fade into the distance; seems to continue beyond a viewer's line of sight because the procession breaks away abruptly at the sides -illusion of SPACIAL DEPTH -panel even bulges out slightly in the center -- so that it seems to turn right in front of a viewer situated inside the arch's bay, making the viewer a part of the action

Relief in bay of Arch of Titus, showing Titus riding in triumph, 81 CE?; ROMAN -differing levels of relief -horses appear in profile but chariot is frontal - giving the illusion that the procession is coming towards the viewer before turning sharply -- not realistic but artist wanted to show that there were 4 horses -Vespasian's absence shows how Roman visual narratives are not always historically accurate depictions of events --> they are made to express a version of events that serves the patron's ideology

Column of Trajan, Rome. 106-113 CE; ROMAN -exploration of space and narrative -there is a 656-foot continuous narrative relief that winds around the column -- celebrating the emperor's victorious campaigns against the Dacians -combats rarely occur in the many scenes of the relief -- the geographic, logistic, and political aspects of the campaign receive more attention -still part of the classicizing phase of Roman sculpture

Portrait of Livia, 14 CE, marble

Portrait of Vespasian, c. 75 CE

Portrait of Domitia Longina, 90 C.E., marble