Roman Art

-Ulpius was Trajan's family name -Nave is spacious & wide (Latin nāvis, Latin: ship) -Double colonnaded side aisles =Second floor had galleries or clerestory windows (imperial roman art

(Apollodorus of Damascus Basilica Ulpia)

-part of Forum of Trajan, -Large marble fragments -22 different layers, not panels -Spiral -Narrates two main wars that Trajan fought against Dacians chronologically-beginnng of war to end scene of sacrifice -Building camps, -Base: representation of typical Dacian weapons and cuirasses -Celebration of the entire reign of Trajan

(Column of Trajan, Apollodorus of Damascus imperial roman art))

Which of the following is INCORRECT about the Augustus of Primaporta? a. This statue is modeled on Patrician sculpture from the Roman republic. b. This statue shows Augustus as having divine ancestry. c. This statue shows Augustus as a brilliant military leader. d. This statue was found in the Villa of Livia; Livia was Augustus's wife.

A

-Multilevel mall -Housed both shops and administrative offices -Several levels of shops original market had 150 shops - Main space groin-vaulted; barrel-vaulted shops (imperial roman art) function: multi-level mall -150 shops and administrative buildings -several levels of shops -main space groin vaulted Function: 170 stores+ market Material: concrete (groin vaults) Patron: Trajan -shops were barrel shops -light could come in, more support in the interior

Apollodorus of Damascus (aerial view of Markets of Trajan Rome, Italy ca. 100-112 AD)

(imperial roman art)

Apollodorus of Damascus (Interior of the great hall,Markets of Trajan)

-Has Temple, Library, Basilica, Forum, Column of Trajan, Apses (imperial roman art)

Apollodorus of Damascus (model of Forum of Trajan, Rome, Italy, dedicated 112 CE)

-parts include: temple, library, basilica, apses, forum, column of trajan (imperial roman art)

Apollodorus of Damascus, (model of Forum of Trajan, Rome, Italy, dedicated 112 CE)

Peristyle Garden, Atrium, Impluvium (imperial roman art)

Atrium of the House of the Vettii (Pompeii, ItalySecond century BCE, rebuilt 62-79 CE)

(imperial roman art)

Aula Palatina (Basilica) (Trier, Germany,early 4th century C.E)

in Roman architecture, a large axially planned building with a nave, side aisles, and apses

Basilica

where: Ancient Rome why: civic building in the Trajan forum, used as an architectural prototype for Constantine's church medium: stone, concrete Form: Timber roof, stone walls Function: Law court Content: Spacious nave, double colonnaded side aisles. Context: 112 AD What: basilica was a large government building Why: large and impressive structure, purpose is reflected in buildings today Medium: concrete, marble, bronze end marked by two mirrored hemicycles, nave flanked by two aisles, capped by two apses, the nave is higher than the aisles, apse identifiable with imperial presence and discussions of power) Roman Late Empire Title. Place it was discovered. Date completed. Artist. Material it was made of. large rectangular building with extensive interior space adaptive for a variety of administrative governmental functions grand interior space for the basilica Why: No religious affiliation; was dedicated to justice and commerce. was later used as a basis for Christian churches Medium: Stone, concrete, wood

Basilica Ulpia (What are some Roman/Greek features?, How does the entire complex of Trajan encapsulate Imperial Architecture?) (106-112 CE); Brick and concrete; Rome; Apollodorus of Damascus)

Historical Context: originally called Flavian Amphitheatre, accommodated 50,000 spectators, concrete core/brick casing/travertine facing, 76 entrances and exists circle the facade, political art that celebrated rulers, different tiers are meant for different social classes seats according to status. Function: amphitheater with 100 days of games like animal fights/gladiatorial battles then after years of neglect it was used for materials in 18th century, entertainment Content: relief sculture, column, political Form: groin vaults, arches, gladiator combat, naval battles, barrel vaults Elements: 76 entrances/exits, concrete core Principles -Arches/Concrete, double theater with seats on a flat surface, -hold 50,000-80,000 people, Ground floor arches- very dark/dilpidated -Like a modern day -Seats assigned to status -three stories of arches, closed with small windows, arches are framed by columns -Tuscan style (similar to Doric) -Ionic-second story (most feminism of the columns, more slendering/volute) -Corinthian-third story -Most important: close to arena Least important: top (women) -Human Characteristics (imperial Roman art) -Monumental arches with all the statues and beautiful fountains reflecting with light -Structure/Building: inside the arena (meant sand)- where the gladiators would fight -Sand to absorb blood -Flavian family paid for the building and Colosseum is just a nickname -Created a vaulting system -Public forums such as aqueducts/arenas/barrel vaults -Series of arches, back-to-back -Creates long tunnels -Interplay of barrel vaults, groin vaults, arches -Meant for wild and dangerous spectacles- gladiator combat, animal hunts, naval battles-but not, as tradition suggests, religious persecution -Facade has engaged columns: first story Tuscan, second floor Ionic, third floor Corinthian, top flattened Corinthian; each thought of as ligther than the order below -Above squared windows at top level are small brackets that are meant to hold flagstaff; these staffs are the anchors for retractable canvas roof used to protect the crowd on hot days -Much of the marble was pulled off in the Marble Ages Colosseum: 1. Doric Column 2. Ionic 3. Corinthian Archways and entraces- 76 entraces to get inside arena

Colosseum ( Rome, Italy, ca. 70-80 C.E, stone/concrete)

-Early imperial sculpture -Burial Chamber of Trajan -Narrative low relief cycle tells story of Trajan's defeat of the Dacians -crowded composition -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 -Column, engraved with the Dacian's preparation for war, stretching out into the sky -Meant to symbolize the Roman's war-power and strength -Column containing visuals of how the Romans prepare for war -Used to celebrate the Roman Empire's glorious victory over an enemy

Column of Trajan ( Apollodorus 106-112 C.E. brick/concrete, rome)

(imperial roman art), painting back is a tholos, not a true window-way to let light in, no true windows

Cubiculum (bedroom from the villa of P. Fannius Synistor Boscoreale, Italy ca. 40-30 B.C.E.fresco)

The Colosseum and the Pantheon share a structural material for which Roman engineers became famous. What is that material? a. granite b. porphyry c. marble d. concrete

D

third pompeian style, more surreal, scenes are monochromatic-one color background but they are floating (imperial roman art)

Detail of a Third Style (wall painting Cubiculum 15 of the Villa of Agrippa Postumus, Boscotrecase, Italy, ca.10 BCE)

Which of the following is true of ancient Roman sculpture (choose all that apply)? a. Ancient Roman sculpture sometimes reflected the Greek ideals of youth and beauty and sometimes the more Roman Republican ideals of old age and wisdom. b. Ancient Roman sculpture often reflected political ideologies. c. Ancient Roman sculpture was often painted. d. Ancient Roman sculpture was influenced by ancient Greek art. e. All of the Above

E

The Ara Pacis commemorated Augustus' military victory at the Battle of Actium. True False

False

The artist of the Ludovisi Battle Sarcophagus followed earlier Roman models and based this active and chaotic composition on earlier Roman work. True False

False

characterized by painted rectangular squares meant to resemble marble facing,

First Pompeian Style

-Created by Trajan -Largest Forum Created -Function: celebrate victories of Trajan, resembles complexes like modern day -Were cultural social centers and innovation -Time for use of public works (Hadrian) -Started out as a market place -Embodies power, vastness of complex, two libraries Function: dedicated to Emperor Trajan Content: glorified Trajan's victories in his two wards -Practicalism/ Spiral Frieze, Context: placed in the middle for all to see Meaning: celebrate the kings victories over the Dacians -Column is carefully carved -Many Detail -Commemorate Trajan, city center -Use of art as propaganda -Forum: civic space, seen all in Rome -Administrative Center/Political/Social Center -many different forums made by different people -engineer: Apollodorus of Damascus -Ceremonial entranceway -Column: see two campaigns of Trajan and his accomplishment, show how he won against the Dacians Dacians- diff from Romans, fringed shawls, beard-defeated foes

Forum of Trajan (Apollodorus of Damascus, 106-112 C.E., marble Rome, Italy)

combine elements from the previous three: the painted marble from the first style is at the base, the large scenes of the second style and the delicate small scenes of the third style are intricately interwoven.

Fourth Pompeian Style

looks very serious, verism, very realistic, scholars debate whether such portraits were blunt records of actual features or exaggerated types to make a statement about personality -Veristic Portrait -Super realistic with each rise/fall -Bulge and fold of the surface of the face represented -Bust form too because the Romans of Republic bellowed elderly showed pattern -Characterizes republican culture -Carved to show an older Patrician to represent knowledge and experience Function: depict an important citizen, propaganda/poltiical art Content: idealized portrayal of a Patrician -Shows Dignity of Age (ideal for politicians of the time due to wisdom, experience etc.) -Veristic sculpture that accurately depicts a Patrician -Symbolize the virtues of wisdom/determination/experience/strength -Simple/Normal view of a wise old patrician -Boast of important citizen -Statue of a Patrician's son -Roman Republican Art

Head of Roman Patrician (ca. 75-50 B.C., marble)

-The Vitruvian canon (or standard) proposes a range of plans, suggesting strongly that the organization of interior space was important in Roman architectural theory. Context: Two brothers owned the house; both were freedmen who made their money as merchants -Narrow entrance sandwiched between several shops -Large reception area called the atrium that is open to the sky and has a catch basin called an impulvium in the center; cubicala radiate around the atrium -Peristyle garden in rear, with fountain, statuary and more cubical; this is the private area of the house -Axial symmetry of house; someone entering the house can see all the way through to the peristyle garden in the rear -Exterior of House lacks windows; interior lighting comes from the atrium and the peristyle Medium: stone/fresco Form: Large reception area (atrium), open to the sky (impulvium), cubicula around atrium, axial symmetry., geometric shapes, exquisite pillar patterning, maze-like layout and peaceful mixture of natue Function: home for living, meant to be a vacation home, for high ranked Romans. Content: Paintings/murals on walls, shop in front, house behind it, old villa with a mixture of nature/outdoor qualities Context: two merchant brothers owned the house, used as a vacation home for the high ranked citizens -Located in Pomepii Form: Corinthians columns, tile floor, cut stone and fresco Function: collects water for bathing, cleaning, etc. Culture: Pompeii, Italy, Imperial Roman -Entryway = fauces. Atrium = main room. Impluvium collects water. Bedrooms = cubiculi. Center = tablinium. Dining room = triclinium. -Republican Period -Pompeii, Italy (Imperial Roman Art)

House of the Vettii plan (Second century BC-first century AD, Pompeii, Italy House of the Vettii plan, Plan of a Roman House- Vitruvius, stone/fresco, c. 67- 79 C.E. )

27-192 AD

Imperial Roman Art (early-high empire)

(imperial roman art)

Jefferson Memorial (Washington D.C.) (Built: 1938-1943 Style: Neoclassical)

-The classical tradition, so willingly embraced by previous emperors, is slowly abandoned by Late Imperial artists. -Compositions are marked by figures lacking individuality and are crowded tightly together. -Depth and recession were rejected. -Proportions are truncated-contrapposto ignored.

Late Empire

(imperial roman art)

Longitudinal and lateral sections of the Pantheon, Rome, Italy, 118-125 CE.

-Figure lack individuality -Confusion of battle is echoed by congested composition -Extremely crowded surface with figures piled on top of one another -Battle of Romans and Barbarians -Crowded Composition -Figures lack individuality -Confusion of battle echoed by congested composition -Depicts Roman army and trouncing bearded Barbarians -Choatic Scene of Battle between Romans/Barbarians decorates the front of the sarcophagus -Rectangular, completely covered in relief, rejection of the classical traditions Function: bury the dead Content: chaotic battle scene between romans and a northern enemy -Extremely crowded scene -Hard to tell who is who -Romans are( good guys) and enemies are goths -Romans are more noble/heroic/features more ideal Goths have puffy noses/cheeks/wild expressions on faces (Barbarians) -Borrowing directly from Greeks -Different style, not classical -No space, piled on top -No place to move -Dense carpets of figures -Large Tomb/Marble -Carved in Deep Relief -covered with figures/horses/shields -two to three layers and forms -dense tangle -hard to see where each figure begins and end -hero on top, coming in on horse, twisting his right arm, bringing his horse -off set against horse, horse looks passionate and he looks calm -radiating sense- spread out and moving at same time -everything is moving, surface is so activated -Romans look stern and serious, much decision making, sense of seriousness of battle -Moral decision making -bottom: figures get smaller -sheilds and other elements create canopies -alternation between light/dark that animate -smooth surface that are reserved for the romans, less deeply carved -texture//roughness associated with enemy -Belonged to wealthy/powerful person -Enormous piece of marble -move away from high classical Greek, intention put on interaction between the figures -less concerned with elegance of the human body (imperial roman art)

Ludovisi Battle Sarcophagus (Battle of Romans and barbarians), Rome, Italyca. 250-260 CE.)

-Multilevel mall -Semiciricular building -Main Space -Groin Vaulted; barrel vaulted shops -Used brick faced concrete -Concete Groin Vaults cover the central space -Emperor Trajan: build public space- temples/libraries/bathouse and markets Market: huge shopping complex more than 150 offices and storefronts -public buildings, projects for Roman people -massive public project -architecture -adept at building dense multistory buildings -had concrete-shape space -central hallway- high wide space constructed with groin vault made with brick-faced concrete -made by Apollodorus of Damascus who was architect -amount of light that comes in What makes it Roman- amount of light that is let in arches, groin vaulted, near the forum, close to Column of Trajan

Market of Trajan ( Apollodorus 106-112 C.E. brick/concrete, rome)

Artist: Apollodorus of Damascus (probably) Period: 112 CE Medium: Stone Original Location: Rome, Italy High Empire, roman

Markets of Trajan (rewatch the kahn academy video)

Context: made after Hadrian became emperor Function: honor all the gods, served as a place to worship Roman Gods -Facade has two pediments -Square Panels in floor -Little niches (statues of the gods) -Coffered celing -completely open-oculus Structure: look towards the side- complete circle -influenced by the greeks -base: super thick1 -coffers: -Temple to all of the gods -believed that within the recessed areas, very spiritual -Wanted to create spherical shape -Corinthian columns in front, engraved frieze -Across allows sunlight to entire Content: revolutionary use of concrete, revolutionary architectural structure -Coffers (decorative panels)- lessen weight of the dome, hemispheric dome, -Unified Space -Used to show the power of the emperor and the importance of Roman gods in Roman society -Symmetric/Geometric/Oculus/Detailed/Precise -Oculus allowed for light/connections to the sky/gods - and to add dramatic effect -large uninterrupted space -High Empire -Temple for all gods -Concrete/Hemispherical/ Oculus -Construction: mixture gets lighter as it gets higher and higher so it doesn't crash -Form: courtyard, framed by colonnade, massive columns, vast circular space Content: repetitive circle shape throughout structure, -Ordered to be built by Emperor Hadrian -Tries to give people the idea that they are looking in the whole world -Marble walls/columns still there (Imperial Roman Art) largest interior dome building that is unsupported Purpose: pray for all gods, temple for all gods, seven main gods Greek- Columns are Corinthian -monument -been attack as original bronze fittings has been ripped off -numerous holes, different purposes of building -dome with oculus -movement of the heavens -coffer in dome -looks like dome could rotate -depend on concrete -much space -colored marble -oculus-defy reason- only light that comes into the building -temple to the gods then made into a church -monoliths -space opens up into vast circular space -obsession with perfect geometric shapes, concerned with ideal geometries

Pantheon (Rome, Italy, ca. 116-125 C.E.)

-Represents a mythological story about Kingg Pentheus -Torn apart by the followers of Dionysus -Pentheus curious about the, snook into the woods, would have been in the dining room, people in the photo are angry- Pentheus female cult- Pentheus opposed the female cult and now the females are attaching him (imperial roman art)

Pentheus Room (Pompeii, Italy,ca. 62-79 AD, fresco)

Texture, gesture of raised arm (commanding), contrapposto pose Praise, celebration/victory, propaganda Content: Had many statues made of him, dolphin symbolizes naval victory & divine lineage (cupid), largely based off of the Doryphoros, Great leader/politician Context : Pax Romana,, was young and wanted to give a different change to the Roman gov't. Date: 1st century CE (early) Period/Style: Imperial Rome/Idealized & Realistic Material: Marble Form: breast plate, drapery, muscular, no wrinkles, distinct facial features, heroic looking, cupid clinging to leg Function: Propoganda for Emperor Augustus- placed in public square Context: Augustus ruled as emperor of rome- wanted to be recognized and known- many statues Content: Cupid clinging to robe = decendent of deity, godlike, ageless, athletic, breast plate = god of sky and earth supporting his rule, stance= pointing to future, shows power and stability -Show power/authority -Realistic/Idealized -Cupid (Venus's son) attached to leg, -Cuirass (breastplate) -Youthful/Athletic -Sucessful Military Leader, Descended from the Gods -Painted -Figure of Augustus most closely resembles the Greek Classical statue Doryphorus in order to recall the Golden Age of 5th century Athens Function: commemorative monument, vehicle of political propaganda Context: advertised Augustus "perfect qualities", depicts the emperor in his role as general -found in Villa of Livia, Livia was Augustus's wife -marbke sculpture of husband -enormous political significance-roman political ideology -copy of bronze used in public environment -important to distribute image throughout empire -likeness/sense/attributes of the ruler through sculpture and painting- like Augustus,not exactly -Made to look younger/handsome/athletic/trancedent -Sculpture: way of being understood and portraying himself -Reestablishing the senate as a way to consolidate power to become Rome's first true empire -God Like -Proportions of body is following Doryphoros by Polykietos- beauty of body- Greek ideal - down at ankle is Cupid (son of goddess-Venus) -traced his ancestry back toAeneus-founder of Rome who was son of venus Cupid (remember that Augustus descended from a goddess) -Saying that he is in part divine -Breast plate: god of sky, goddess of Earth -all divine force come together for his rule -THICK leather curiass embossed with scenes that are almost like personal resume -shows Romans reclaiming standards from Parthinians- shows power of Rome -brillant military leader -powerful visual propaganda (Imperial Roman Art)

Portrait of Augustus as General (of Primaporta) (from Primaporta, Italy, ca. 20 B.C., marble)

27-410 AD

Roman Empire

-Interior wall paintings, created to liven up windowless Roman cubical were frescoed with Mythological Scenes, Landscapes, and city plazas -Mosaics were favorite floor decorations-stone kept feet cool in the summer -Murals were painted with some knowledge of linear perspective -Orthognals recede to multiple vanishing points -To present an object in the far distance, an artist used atmospheric perspective

Roman Painting

509-27 B.C.

Roman Republic

large mythological scenes and /or landscapes dominating the wall surface. Painted stucco decoration of the First Style appears beneath in horizontal bands.

Second Pompeian Style

characterized by small scenes set in a field of color and framed by delicate columns of tracery.

Third Pompeian Style

Historical Context: Nomadic people lived in Petra, city built along a caravan route, buried their dead in the tombs cut out of the sandstone cliffs. People buried in sandstone cliffs, statues of greek gods, used to be sealed, believed to be a tomb for a past king Function: serves as a funerary tomb for the wealthy and the dead are guided by the god/godsesses of the dead, goddesses protecting the travelers and dead on their journeys, treasury, tomb/temple Content: Petra was a central city of Nabateans; built along caravan route; lower story has influence of Greek/roman temples Form: columns not proportionately spaced; upper floor Elements, broken pediment with Tholos Principles: 6 unevenly spaced columns at the bottom, pediment only covers four of them. shows influence fem Greeks with modifications -High Empire -Roman Republic -Lower story has the influence of Greek/Roman temples, -Columns not proportionally spaced -Upper floor: broken pediment with a central tholos -Combination of Roman/indigneous traditions

Treasury at Petra (Treasury, Monastery and Great Temple of Petra, Jordan, c. 400 B.C.E.- 100 C.E., cut rock)

This is the only large-scale bronze sculpture of an emperor on his horse to survive from antiquity. True False

True

an order of ancient architecture featuring slender, smooth columns that sit on simple bases; no carvings on the froze or in the capitals

Tuscan order

Republican Sculpture: -Republican busts of noblemen, called ________ sculptures, are strikingly and unflatteringly realistic. -This may have been a form of idealization: Republicans valued virtues such as wisdom, determination, and experience, which these works seem to possess. (Republican Roman Art, 509-27 BC)

Veristic

extremely realistic/superrealistic

Veristic/Verism

Roman Architecture -The Romans were master builders! They forged great roads and _____________ as an efficient way of connecting their empire and making cities livable. -Roman architecture is revolutionary in its understanding of the powers of the arch, the vault, and concrete. -Arches and vaults make enormous building possible, like the Colosseum and they also make feasible vast interior spaces like the _________________. -The Romans used concrete in constructing many of their oversized buildings> initially used as a filler in buildings and then as the main support element. -Much is known about Roman domestic architecture, principally because of what has been excavated at ________________, which was buried for many years after Mount Vesuvius erupted in _______________.

aqueducts, Pantheon, Pompeii, 79 AD

landscapes that give the illusion of distance , paintings may have more than one vanishing point with orthogonals leading the eye to several parts of the work,

atmospheric perspective

courtyard in a Roman house or before a Christian church

atrium

arch is extended into space, forming a tunnel

barrel vault

sculpture depciting a head, neck, and upper chest of a figure

bust

in architecture, a sunken panel in a ceiling

coffer

Imperial Sculpture -While busts of senators conveyed the gruff virtues of Republican Rome, EMPERORS, whose divinity descended from the gods themselves, were portrayed differently. -Inspiration came from Classical Greece and Roman sculptors adopted the ____________ ideal proportions and heroic poses of Greek statuary. -Forms became less individualized, iconography more associated with the divine.

contrapposto

Roman bedroom flanking an atrium

cubiculum

breastplate

cuirass

small dome rising over the roof of a building, rotating an arch on its axis

cupola

The ground level columns of the Colosseum use which of the classical orders? a. Ionic b. Doric c. Corinthian d. Tuscan

d.

What is in a typical Roman house?

fauces, atrium, impluvium, cubiculum, ala, tablinum, triclinium, peristyle

visual effect in which an object is shortened and turned deeper into the picture plane to give the effect of receding in space

foreshortening

public space or market place in a Roman city

forum

painting technique that involves applying water-based paint onto a freshly plastered wall. paint forms a bond with the plaster that is durable and long lasting

fresco

when two barrel vaults intersect at right angles

groin vault

rectangular basin in a Roman house that is placed in the open-air atrium in order to collect rainwater

impluvium

the center stone of an arch that holds the others in place

keystone

achieve a three-dimensionality in a two-dimensional world of the picture plane

linear perspective

Roman Painting -Interior wall paintings, created to liven up windowless Roman cubicula were frescoed with Mythological scenes, landscapes, and city plazas. -Mosaics were favorite floor decorations-stone kept feet cool in the summer. -Murals were painted with some knowledge of ______________ perspective. -Orthogonals recede to multiple vanishing points. -Sometimes, to present an object in the far distance, an artist used _______________ perspective.

linear, atmospheric

circular window in a church, or a round opening on top of a dome

oculus

all lines draw the viewer back in space to a common point

orthogonals

an atrium surrounded by columns in an Roman house

peristyle

-Roman art reflects the ambitions of powerful empire-monumental buildings and ________ built to the glory of gods and the state. -Roman architecture is revolutionary in its understanding of the powers of the _______, vault, and ______. -A history of Roman painting survives on the walls of Pompeiian villas. -Romans show an interest in the basic elements of perspective and foreshortening. -Roman architecture has a large public element and is influenced by Etruscan and _________________ models.

sculptures, arch, concrete, Greek

triangular space enclosed by the curves of arches

spandrel

method of painting that superceded the encaustic painting method, only to be itself replaced by oil painting

tempera painting (Unlike encasustic paints which contain beeswax to bind the colour pigments, or oil paints which use oils, tempera employs an emulsion of water, egg yolks or whole eggs (occasionally with a little glue, honey or milk).

dining table in ancient Rome that has a couch on three sides for reclining at meals

triclinium

roof constructed with arches

vault

sculptures from the Roman Republic characterized by extreme realism of facial features

veristic