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Chapter 5Gods, Heroes, and Athletes:

The Art of Ancient Greecepp. 120-164

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The Roman World

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Historical & Cultural influences on the transition from Classical Greek to

Hellenistic Greek Art• Rise of Macedon – after the defeat of Athens in 404 BCE, the Greeks were weakened, and then overcome by Philip II of Macedon, then succeeded by Alexander the Great.

• The political upheaval challenged the notion that rational human beings could impose order on their environment.

• Refocused on individual rather than the ideal and on the real world of appearances.– The gods were humanized.

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Historical & Cultural influences on the transition from Classical Greek to

Hellenistic Greek Art• The gods were humanized.

• Nobility in defeat.

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Historical & Cultural influences on the transition from Classical Greek to

Hellenistic Greek Art• In Hellenistic Greece the center was not Athens, but Antioch, Alexandria and Pergamon.– Much richer, more cosmopolitan

culture emerged after Alexander the Great.

– The 2 Aphrodites tell the story

• By 2nd cen. BCE the Greeks are under the control of the Romans.

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Architectural Innovations

• Sasanian: Ctesiphon – Barrel Vault

• Egyptian: Gizeh – Pyramid

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Architectural Innovations

• Archaic Greece: Mycenae – Corbel Arch

• Etruscan: Perugia – Keystone Arch

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Architectural Innovations: ROME

DEFINITIONS:Barrel vault: The extension of a simple arch

creating a semi-cylindrical ceiling over parallel walls. It requires buttressing of the walls below the vaults to counteract their downward and outward thrust.

Groin or cross vault: Formed by the intersection at right angles of two barrel vaults of equal size. Needs less buttressing and appears lighter than barrel vaults.

Pseudo-peripteral: A series of engaged columns that run around the sides and back of the cella to give the appearance of a peripteral colonnade.

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Architectural Innovations: ROMEBarrel Vault

Groin Vault

• Multiple groin vaults allowed for clerestories

• The invention of cement made possible an Architecture of Space, not Mass.

Hemispheric Dome with Oculus

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Temple of Fortunus Virilis

ca. 75 BCEEtruscan influences?• The plan—the high podium is

accessible only by the front via a wide flight of steps.

• Columns are confined to the porch.Greek influences ?• The Ionic features—the fluted

columns with bases and the Ionic frieze.

• It is built of stone overlaid with stucco in imitation of Greek marble temples.

Roman element ?• A series of engaged Ionic half-columns on the

sides and back of the cella (pseudo-peripteral).

Figure 10.3

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Temple of Vesta, Tivoliearly 1st cen. BCE

• Corinthian columns• Podium only reachable

by narrow staircase leading to cella door.

• Used concrete for cella wall.

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Sanctuary of

Fortuna Primigenialate 2nd cen.

BCE 1st grandiose complex symbolic of Roman power.

• Covered a hillside

• Made possible by cement and massive concrete barrel vaults.

• Terraces led to central tholos

Figure 10.5

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Art of The Republic (509-27 B.C.)

• The role of Portraits in society.– Temples full

of portraits of men from old & distinguished Roman families

– Slaves/former slaves had no ancestor portraits as slaves were property.

Gesii funerary relief ca, 30 BCECertified their status as Roman citizens

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Art of The Republic (509-27 B.C.)• Republican Verism:

Influenced by Greeks, Etruscans & Egyptians, but celebrated their elevated position in society.

• Thought head was enough, vs. the Greeks who wanted thewhole body.

• Wanted brutal realism, yet wouldput old head on young body.

Figure 10.7 Figure 10.8

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Caesar Breaks the Rules – 44 BCE

• First live person to appear on a coin in Roman [before that distinguished ancestors]

Figure 10.11

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The Early Empire (27 B.C. – 98 A.D.)

• Explore Pompeii for its information about Roman art and architecture.

• Understand the role of the Colosseum and amphitheater in Roman life.

• Understand the concepts, methods and materials of Roman house construction and why it is significant.

• Examine the types, methods, and subject matter of Roman wall painting.

• Understand the development of Roman art and architecture as the empire expands and develops.

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Roman Architecture in Pompeii

• August 24, 79 CE Pompeii was buried by the eruption of Mt. Vesuvius, thus preserving it for us to see.

• Forum: Center of civic life, usually closed to traffic.

• 2 story colonnades on 3 sides

• “Capitoline”: Temple to Jupiter, Juno & Minerva.

• Temple faced into the civic center, not isolated on a hill.

• Standard Republican build – tufa covered in stucco.

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Roman Architecture in Pompeii• Earliest amphitheater known. [double

theater] ca. 7- BCE – modeled on Greek.• Radial barrel vaults form a retaining wall &

support the earthen mound and the seats.

• Painting : Record of a brawl between Pompeians and their neighbors in 59 CE.

Figure 10.13

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Amphitheater

Pompeii, Italy

ca. 80 B.C.E.

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The Roman House• Inward looking.• Had similar elements.• Were the focus of the

social structure of a Roman city

House of Vetti – rebuilt 62-79 CE

Figure 10.15

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First Style wall painting

fauces of the Samnite House, Herculaneum, Italy

late 2nd century B.C.E.fresco , Figure 10-17

The First Style Roman wall painting, "Incrustation" (right) is thought to imitate Greek painting that created flat areas of color and 'faux" finishes (like a fake marble or oak finish)

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Cubiculum (bedroom) Second Style

from the villa of P. Fannius SynistorBoscoreale, Italy

ca. 40-30 B.C.E.fresco, figure 10-19

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In the second style Roman wall painting, called the "architectural style," space extends beyond the room with various perspective ("illusion of three-dimensional space on a flat two-dimensional surface)  devices.  Roman artists came close to developing a true linear perspective.

Figure 10-18

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Dionysiac mystery frieze

Room 5, Pompeii, Italy

ca. 60-50 B.C.E.frescofrieze approximately 64 in. high

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Gardenscape

from the Villa of Livia, Primaporta, Italy

ca. 30-20 B.C.E.fresco approximately 79 in. high, Figure 10-20

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Gardenscape

from the Villa of Livia, Primaporta, Italy

ca. 30-20 B.C.E.fresco approximately 79 in. high

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still life with peaches

Detail of 4th style wall paintingfrom Herculaneum, Italy

ca. 62-79 C.E.fresco approximately 1 ft. 2 in. x 1 ft. 1 1/2 in.

Figure 10-26

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Third Style

In the Third Style Roman Wall Painting, called the "Ornate Style," pictorial illusion is confined to "framed" images, where even the "framing" is painted on.  The overall appearance is flat rather than a 3-d illusion of space.

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The Fourth Style Roman Wall Painting, called the "Intricate Style," confines full three-dimensional illusion to the "framed images," which are placed like pictures in an exhibition.  The images themselves do not relate to one another nor do they present a narrative, as in the Second Style.

The Fourth Style is also characterized by the open vistas and the use of

aerial perspective, as well as the elaborate architectural framing.

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Portrait of Augustus as general

from Primaporta, Italy

ca. 20 B.C.E.marble80 in. high Figure 10-27

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This depiction of Augustus has subtle political expressions in it. He has pictures of his victories at war written on his chest, and he also holds a staff. Cupid is at his feet, which tells that he is a descendent of deities.

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Pont-du-Gard

Nimes, France

ca. 16 B.C.E.

The aqueducts and bridges in Roman period exist in Rome, Merida, Segovia, Tarragon in Spain and Nimes in France.Pont du Gard in Nimes is one of the famous one which preserve original style of Augustus era.

Figure 10-33

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Pont-du-Gard

Nimes, France

ca. 16 B.C.E.

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Porta Maggiore, Rome, Italy ca. 50 CE

The double gateway, which supports the water channels of two important aqueducts, is the outstanding example of Roman rusticated masonry, which was especially popular under Claudius.

Figure 10-34

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Colosseum, Rome, Italy

ca. 70-80 C.E.

The columns of the ground floor are the Doric, the first floor are Ionic, the second floor are Corinthian and the top of floor are Corinthian pilaster.

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Colosseum

Rome, Italy

ca. 70-80 C.E.

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Portrait of Vespasian, ca. 75-79 CE

Vespasian’s sculpture revived the veristic tradition of the Republic to underscore the elderly new emperor's Republican values in contrast to Nero’s self-indulgence and extravagance.

Figure 10-37

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Portrait bust of a Flavian woman

from Rome, Italy

ca. 90 C.E.marble25 in. high

Figure 10-38

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Arch of Titus, Rome, Italy, 81 C.E.

This arch commemorates Titus' conquest of Judea which ended the Jewish Wars (66-70). The arch was erected posthumously, after Titus had already become a "god."

Figures 10-39-41

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Column of Trajan, Forum of Trajan, Rome, Italy, dedicated 112 CE

The spiral frieze of Trajan’s column tells the story of the Dacian Wars in 150 episodes. All aspects of the campaigns were represented, from battles to sacrifices to road and fort construction.

Figure 10-44

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Arch of Trajan, Benevento, Italy, ca. 114-118 CE

Unlike Titus’s arch, Trajan has relief panels covering both facades, transforming it into a kind of advertising billboard featuring the emperor's many achievements on and off the battlefield.

Figure 10-47

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Pantheon

Rome, Italy

ca. 118-125 C.E.

Figure 10-49

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Pantheon, Rome, Italy

ca. 118-125 C.E.

The Pantheon reveals the full potential of concrete, both as a building material and as a means for shaping architectural space.

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Pantheon

Rome, Italy

ca. 118-125 C.E.

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Pantheon

Rome, Italy

ca. 118-125 C.E.

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Al-Khazneh

Petra, Jordan

2nd century C.E.

Al Khazneh, also known as the Treasury, is one of the most impressive sites of ancient Petra in Jordan. Al Khazneh was hand carved from the beautiful red sandstone mountain.

Figure 10-54

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Model of an Insula, Ostia, Italy

2nd century C.E.

After the great fire under Nero, the emperor restricted their height. Even if the insulae didn't burn, they might collapse from bad construction. Light came from openings we refer to as windows, although they would not have contained panes of glass.

Figure 10-54

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Equestrian statue of Marcus Aurelius

from Rome, Italy

ca. 175 C.E.bronze11 ft. 6 in. high Figure 10-59

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Equestrian statue of Marcus Aurelius

from Rome, Italy

ca. 175 C.E.bronze11 ft. 6 in. high

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Asiatic Sarcophagus with kline portrait of a woman

165-170 C.E.marbleapproximately 5 ft. 7 in. high

Sarcophagi were produced in several regional centers. Western sarcophagi were decorated only on the front. Eastern sarcophagi, like this one, have reliefs on all four sides.

Figure 10-61

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Sarcophagus of a Philosopher

270-280 C.E.marble4 ft. 11 in. high

Figure 10-71

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Mummy portrait

from Faiyum, Egypt

ca. 160-170 C.E.encaustic on wood

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Portrait of Carcalla

ca. 211-217 C.E.marble14 in. high

Figure 10-64

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Portrait Bust of Trajan Decius

Capitolino, Rome

249-251 C.E.marble2 ft. 7 in. high

This portrait of a short-lived “soldier emperor” depicts an older man with bags under his eyes and a sad expression. The eyes glance away nervously, reflecting the anxiety of an insecure ruler.

Figure 10-68

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Heroic portrait of Trebonianus Gallus, from Rome, Italy,

ca. 251-253 CE Bronze

Figure 10-69

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Portraits of the four tetrarchs

St. Mark’s, Venice

ca. 305 C.E.porphyry51 in. high

Diocletian established the tetrarchy to bring order to the Roman world. In group portraits, artists always portray the four co-rulers as nearly identical partners in power, not as distinct individuals.

Figure 10-73

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Portraits of the four tetrarchs

St. Mark’s, Venice

ca. 305 C.E.porphyry51 in. high

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Palace of Diocletian (model)

Split, Croatia

ca. 300 - 305 C.E.

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Arch of Constantine

Rome, Italy

ca. 312-315 C.E.

The reuse of statues and reliefs on the Arch has often been cited as evidence of a decline in creativity and technical skill in the waning years of the Roman Empire.

Figure 10-75

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Arch of Constantine

Rome, Italy

ca. 312-315 C.E.

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Portrait of Constantine

from the Basilica Nova, Rome, Italy

ca. 315-330 C.E.marblehead approximately 8 ft. 6 in. high

Constantine’s portraits revive the Augustian image of an eternally youthful ruler.

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Basilica Nova reconstruction drawing

Rome, Italy

306-312 C.E.

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