SET 2 - History of Art: ID-2241: Exam 3

Etruscan and Republican Roman Art

Name?

Facts?

GREEK VASE PAINTING:

• Black Figure technique and Red figure technique

• Exekias”Achilles and Ajax” amphora,530 BC

• Athens queries:high iron content of clay:red/orange color

• Used pottery wheels

• Terracotta

• Kiln

• ”slip”: diluted clay mixture painted onto vase

• After firing: the “slip” is a different color from the clay color of the vase(oxidation)

• Black figure technique:

• Image painted with “slip”

• After firing, the “slip” oxidizes and turns black

Name?

Date?

Facts?

“Dionysos in a Boat” kylix

540 BC

• Exekias

• Kylix

• Ovid: “Dionysos,the god of wine, was kidnapped by sailors. Upon awakening, he caused the mast to

• grow grape vines”

• ”And turned the sailors into dolphins”

  • punishment 

• Composition follows the curved shape of the vase

• story in motion, grapes in motion

• Black figure painting

Name?

Date?

Facts?

“Achilles and Ajax” amphora

540-530 BC

• Exekias

• amphora

• Black figure greek vase painting

• Homer’s Iliad: “fighting on the Greek side in the Trojan war, Achilles, the greatest of the Greek warriors,

• And his friend Ajax...”

• Art shows playing a betting game

• Value perspective

• ”bets” they are calling, coming out of mouth 

  • telling what they’re doing

• Clay color of the vase showing through

• Contrapposto stance

• Chiastic balance

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Facts?

“Herakles and the Cretan Bull” bilingual amphora

525-520 BC

• Andokides painter,

• Bilingual:two sided

• Red figure technique

• Black figure technique

• The background is painted with as “slip”

• After firing the red color of the clay of the vase shows as the “image”

• Heracles: greek figure

• Labors(7:12)

• Herakles: greek hero

• Cretan bull:

  • King Minos, Minoan culture

• showing the unusual solution to the problem

• “Herakles snuck up behind the Bull and then used his hands to throttle it(stopping before it was killed), and then shipped it back to Mycenae.

Name?

Date?

Facts?

“Death of Sarpedon” calyx krater

500 BC

• Euphronios,

• Krater

• Hypnos-sleep

• Hermes is the messenger god

  • framing the side

• Thanatos is death

  • framing the story

• Sarpedon - returning to the earth

• Red figure painting

  • More detailed

• More action represented

• More depth of space

• Planimetric separation (foreground. Middleground, background)

• Overlapping

• Chiastic balance - eye glance and bodies make up an X

Krater

vase with a large open lip/top

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Cerveteri necropolis

7th– 2nd c. BC

ETRUSCAN ART

• Tomb of the Reliefs, Cerveteri, 3rd c. BC

• Tufa: volcanic rock

  • carved into the stone 

• Reserved columns

  • supposed to mimic post-lintel construction

• Carved furniture out, 

  • knives

  • tools

  • rope

  • relief carvings

Name?

Wjere?

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Facts?

Sarcophagus with reclining couple

Cerveteri

520 BC

ETRUSCAN ART

• Terracotta

• 3.7’X6.2’

  • life size

• Has “Greek influence” from the Archaic period of greek art

  • face details - “archaic face”

  • Geometric, symmetry used in body

• Happy family

• A vessel that would have held ashes 

tercotta

fired clay

kiln

oven for firing vases

slip

diluted clay mixture painted onto vase

kylix

what you drink wine out of

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Facts?

Etruscan temple at Veii

6 thc. BC

ETRUSCAN ART

• Frontally aligned

• One entrance/opening

  • centered at the front 

• Raised above the ground

• Set on high on a podium

  • not a way into the temple structure, forcing you to around to the one entrance

• Post-lintel construction: column/architrave

• Arcoterium acroteria

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Apulu (Apollo) acroterium of Portonaccio Temple, Veii

510-500 BC

ETRUSCAN ART

• Acroterium

  • placed on the roof of Etruscan temple at Veii

• 8 feet tall

• Anciert Greek references

  • Archaic greek face

  • Split leg pose=walking

tufa

volcanic rock

black figure painting

subject painted with slip

red-figure painting

background painted with slip

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Temple of Fortuna Virilis (Temple of Portunus)

Rome

75 BC

REPUBLICAN ROMAN ART

“strong fortune”

Fortuna” is a goddess

11’x15’

Frontally aligned

• very high podium

Engaged pilasters

Monolithic columns

Ionic order: volute capitals, frieze

• not narrative

Acroteria: Fortuna

Life size

high podium

Is a roman republic temple

Engaged pilasters

non weight-bearing “columns” projecting from a wall, not adding architectural 

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Head of a Roman patrician

75-50 BC

REPUBLICAN ROMAN ART

• used hand-driven drill

  • emphazing surface details 

• ”verism”

  • not idealised, exactly what they look like

• emphasis on “surface” details

  • wrinkles, assymentry

verism

extreme realism

Roman Wall Painting

-Pompeii is a Roman city

-The day after Vulacanilia, the fire god

-Along with Herculaneum, Pompeii was destroyed and completely buried during a long catastrophic

eruption of the volcano. Mount Vesuvius spanning two days.

-The eruption buried Pompeii under three layers of 8 to 10 feet of ash

-Pompeii lost for nearly 1700 years before its accidental rediscovery in 1749 while digging foundation

for the summer palace of the king of Naples

Arcoterium acroteria

sculpture placed “on high”

Monolithic columns

columns carved from a single block of stone

Pompeii, Herculaneum, Primaporta

late 2nd c. BC to 79 AD (eruption of Mt. Vesuvius):

REPUBLICAN ROMAN ART

• Well organized: streets and sidewalks

• Election and propaganda

• Plumbing

• Specialization

Atrium villa

house with central alignment and open (atrium) space in center, gather water and, vent of the area

Impluvium

depression in the floor for gathering wate

Cubiculum

room

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Samnite House

Herculaneum

2nd c. BC

Republican Roman Art

• -First style: Incrustation

• Creating the illusion of decoration, incrusted in the wall

Incrustation

mineral pigment to create the illusion of other materials

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Villa of the Mysteries

Pompeii

60-50 BC

Republican Roman Art

• Many open atrium spaces

• Second style: Architectural

• Illusion

• manipulated the painting to be reflection of the architecure 

• Perspective systems

• overlapping, planimetric separation

Architectural, illusion

the illusion that we cen step into another wall or another space

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Villa of Livia, Primaporta

30-20 BC

Republican Roman Art

• Second style: Architectural

  • A garden that extends byond the room that we are sitting in

• Overlapping and planimetric separation

• Foreground, middleground and background

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Villa of Publius Fannius Synistor, Boscoreale

50-40 BC

Republican Roman Art

• -Second style: Architectural

• Wall is there, move the plains, extend through the city

• Planimetric separation

• Overlapping

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Villa of Agrippa Postumus, Boscotrecase

10 BC

Republican Roman Art

• Third style “Ornate”

• no architectural continuation into another space

• wall is wall

• illusion of ”pictures” hung on the wall 

• framed painting

• maybe things that look like shelves 

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House of the Vettii, Pompeii

70-79 AD

Republican Roman Art

• Fourth style ”Intricate”

• Mix of previous styles

• 1st: Incrustation

  • painted panels to like material

• 2nd: Architectural

  • looks like looking through window

• 3rd: Ornate

  • paintings hanging on the wall

Augustus

• Augustus first to be named Emperor

• -Constantine converted to christianity

• -Augustus great nephew and heir to Julius Caesar

• -Defeated the troops of march anthou and queen cleopatra of egypt marking the end of the roman republic

• Grateful Roman senator bestowed upon his the name Augustus

• -Pax Romana: “Roman peace”, 200 years of peace, expansion of the empire:imperial roman

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Portrait bust of Augustus as General,

from Primaporta

20 BC

Imperial Roman Art

• admires of classical Greek sculptors which was orginally made out of bronze then romans copied in marble

• Contrapposto stance, but not free-standing - influnced from Greek sculptors

  • Did not master the contrapposto stance to make it free standing

• More interested in surface, details

  • less focus on structure

• Labels on his chest identifying different imagery (e.g., Egypt, “sun”, “sky”, Apollo etc)

  • Spqr(Senate, people who are Rome)

  • female, represents the defeat of cleopatra

•  would have been Polychromed

• Subtractive process; marble mechanical drill

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Ara Pacis Augustae (Altar of Peace)

Rome, Italy

13-9 BC

Imperial Roman Art

• from Romate senra to honor Augustus return to rome after being away

• dedicated to Roman Goddes, Peace

• Originally on the outskirts of the city

• Over time covered by silt from Tiber River

• Discovered and relocated in 1938

• New building designed by Richard Meir, 2008

• Roman Republic to Roman Empire, indicating peace

• Very controlled, Frontal entrance

•  set up on a high Podium

• ” Procession” frieze imagery (Portraits of different people)

• Represent certain people ata certain time, permanent recor dof who was there

• -was Polychromed, some left over paint 

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Pont du Gard aqueduct

Nimes, France

16 BC

Imperial Roman Art

• Expansion of Roman empire:

• Organize city structure for efficiency

• bring technology to improve facilities in the form of roads

• roads

• aqueducts

• provide public spaces: temples, baths, amphitheaters

• In Nimes, France: 30 miles of aqueduct network

• 100 gallons of water per day per inhabitant

• Aqueduct - Pont du Gard aqueduct, brought in lots of water

• 82 foot space

• uses less material

• arch

• Voussoirs

• Pier

• Corbelling - similar to the Mycea use of corbelling but excuted better with aqueduct

• Brick faced concrete

Aqueduct

a series of continuous arches with a channel of transporting water over long distances

Arch

a structure that spans an open space while supporting weight

Voussoirs

are wedge shaped forms that follow a curved course that springs from one pier to another

Pier

the wieght of the material of teh voussior is transferred down through the pier (square colums)

Brick-faced concrete

lime (superheated limestone to form putty) mixed wirth aggregates (local stones, rubble)

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Maison Carree (Square House)

Nimes, France

1-10 AD

Imperial Roman Art

• grandson/heirs of Augustus

• frontally aligned

• high podium

• monohlithic columns

• Friese

• Engaged pilasters

• Corinthian Order -

• Capital devoration that celebrates acanthus leaves

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Colosseum (Flavian Amphitheatre)

Rome

70-80 AD

Imperial Roman Art

• Colossus figure of Nero

• Amphitheater

• earthquake that caused Damage to south side

• Not repaired

• Most of debris used for other building programs

• Bronze clamps pried out and melted down to be used elsewhere

• Arches for open spaces

• Vault

• Barrel vault

• Brick-faced concrete

• Corinthian order, ionic order, doric order

• The colosseum was used for gladiatorial contests,mock sea battles, animal hunts, executions

• In the inaugural spectacles, records show that over 3,000 animals were slaughtered

• The building ceased to be used for entertainment in the early medieval era. It was later reused for such purpose as

  • Housing,workshops

  • Quarters for religious order

  • A fortress

  • A quarry, a christian shrine

• possibly for a canopy cover

amphitheater

open space that surrounded on all side

Vault

arches extended horizontally

Barrel vault

continuous vaulted curve

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Arch of Titus

Rome

81 AD

IMperial Roman Art

Triumphal Art

Public spaces: the Forum

Roman forum

Roman emperor Titus

Commemorative arches; history recording

re-entering rome under the arch

Triumphal Art

commemorative monument

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Column of Trajan

Rome

112 AD

Imperial Roman Art

Trajan born in Spain

Commemorative monument

128 feet high

Commemorates Trajan’s victories in the Dacian wars

Stair case in the center

150 feet of frieze

frieze winds around columns 23x

lowest register: 36 inches high

highest register: 50 inches

2500 figures

Trajan appears x59

refeleifs showing workers builingaqueducts, bridges -

ship building

River god

Pontoon bridge

Stacked perspective - fills us space

Reverse perspective

Stacked perspective

spatial planes stacked vertically instead of in recessional alignment, stacking the all the grounds (fore,back,middle) vertically

Reverse perspective

lack of accurate size diminished: figures larger the further away they are positioned to show details 

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Haddrian’s Wall

Great Britain

120 AD

Imperial Roman Art

Emperor born in Spain

-Fortified against Barbarians

starting to draw boundaries

-8 feet thick, 10 feet high

-118km/73 miles

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Pantheon

Rome

118-125 AD

Imperial Roman Art

Hadrian emperor

Pan-theon: “all the gods”

frontally aligned

monolithic columns

historical monument - with a quote inscribed on it

Would have a part of complex

Highly polished marble added to exterior

Statues on top

brick-faced concrete (basalt in the foundations volcanic tufa in the upper walls, pumice at the top)

-“After 400 AD the art of concrete was lost after the fall of the roman

empire...and did not reappear until ca.1400”

Arch

Dome

Coffers -Scale manipulated to produce illusion of height, smaller sqaure at top, larger at bottom

Oculus - looks out into sky, connects to celestial realm

-bronze rosettes(removed)

temples

Dome

arch rotated on axis

Coffers

inserts in dome to reduce mass, weight, sqaures

ocuclus

“eye” opening in dome

temples

religious rituals

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Colossus of Constantine

315-330 AD

Imperial Roman Art

• Roman emperor converted to Christianity

• Head: 8.5 feet, Overall: 40 feet tall

• mutilated

• would have been massive

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Arch of Constantine

Rome

312-315 AD

Imperial Roman Art

• Commemorative art

• Eclecticism

• Removal of sections from other monuments, panels from the time of Hadrian

• applying them to the arch

• ”mixes” history

• ”mixes” styles

• Constaine panels are closest in view

• schema

  • short flat bodies, not 3D - Christian body deemohasized

  • large heads - Christian soul emphasized

  • no comtrappostocontrapposto

  • repetitive, show quantity

Eclecticism

mixing references, styles, and materials