Roman portraiture was known to be one of the most significant and prominent periods in the development of portrait art. Roman portraits are characterized by two major styles the realistic or “veristic” and the idealized elements or “classicizing” both of these styles are known for their unusual realism and the desire to convey images of specific individuals such as gods and emperors. However it is important to understand the early background behind roman sculptures stretches back to the earliest days of Roman history, for example a commend tradition was to create a wax sculpture of the dace of a desist man, which were kept in a special place of the owners home. These sculptures were more of a record the persons existence than an actual work of art, there for it emphasis more realistic details than artistic beauty.
As Roman grew wealthy, Roman aristocrats began to make portraits from stone rather than wax. Yet despite this relative change they maintained their preference from accuracy over artistic expression with the rapid raised or the empire, there was a shark reduction of this trend, not so much in the number of statues which actually stated to increased dramatically but in the amount of people to be represented in a statue. Instead of statue of statesmen, the status now portrays emperors. Later emperors such as emperor Nero would erect similar statues of themselves around their empire.
During my visit to the Worcester art museum I examine many of the sculptures, this museum has a 1collection of Greek and Roman art going back to 1898, out of all of the roman sculptures the sculpture of emperor from Nero was the fifth Roman emperor from the death of Claudius in 54 BC to his death in 68BC. At the binning of his reign, Nero appe...
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...r because in this period figures are no longer idealized, but represented as they actually are, with all of their imperfections. Even though we can only see Nero’s face one can definitely see an important fact to point out is that 3“although Roman portraiture technically was derived from the portraiture that existed in the preceding Greek world, it stands out fro that of all other historical periods”.
The character of emperor Nero is presented in a more naturalistic form, he seems as if he was angry or mad, the reason he could be shown in this manner is because of his evil personality, after all Nero brought the entire Roman empire to the collapse with his legendary cruelty. However, The portraits of the others at the Worcester Art Museum where presented in a better light, not by the museum but by the views of the people at the time each sculpture was constructed.
Roman portraiture is more realistic than previous idealistic Hellanistic styles. They better depict each subject’s individuality to a degree never seen before. The purpose of Roman portraiture is to address the audience and convey specific messages to them.
A way to remind people of prominent and notable descendants or to demonstrate their power, wisdom, experience, and authority was using verism style of art works. In this a style of portraiture attempts to show the true likeness of an individual. Etruscan and Roman sculptors working in the veristic style represented their subjects’ realistic character traits and uniqueness. Persona was depicted along with including imperfections. Without cameras this was the only other way to capture someone’s true likeness besides painting. Veristic style began in Greece. As with other forms of Roman art, Roman portraiture borrowed certain details from Greek art but maintained their own style.
Sculptures of heroes and emperors was a common way of displaying greatness in the society of ancient Rome. Throughout history there are several sculptures of emperors and heroes dresses in royal clothing or posing in a powerful stance. People looked up to emperors and heroes for their strength, bravery, and ability to lead which is why many sculptures were created to honor them. The Roman hero Hercules is one in which appears often in art history. The Marble statue of a youthful Hercules embodies to ideal image of power, and strength of Roman heroes that continues to stay the same.
The construct of the ‘Roman copy’ in art history has deeply rooted and extensive origins. Whilst this prejudiced was attached to Roman sculpture from an extremely early time in modern archaeology and art history, the construct viewed in a current context reveals issues with both its development and contribution to historical understanding and education. The construct is formed upon several main factors that have recently been called into question by revisionist historians. Firstly, the development of the construct by conservative historians during the 18th century, a context that valued artistic originality and authenticity, lead to it’s popularisation and circulation as a respected model. Secondly, the construct rests entirely on the presumption that Greek art is in fact aesthetically and artistically superior, insinuating a negative predisposition towards Roman artistic workmanship and aesthetics. Lastly, technological advancements aiding historiography have asserted the fact that many conclusions drawn by conservative historians through their methodology are in fact irrefutably incorrect. While the basis for much of the conservative historians argument has been seen as flawed, or otherwise seriously questioned in terms of accurate and reliable history, the construct of ‘Roman copies’ of Greek originals has remained a legitimised understanding and interpretation of Roman art for centuries. The question can then be raised as to whether the attention given to this aspect of history is worth the fact that much of the history being taught is now being heavily questioned.
The Flavian period created a climate of acceptance of one’s true self, hence the use of realism. The portrayal of realism in Roman portrait sculptures may have been developed from the tradition of keeping wax funeral masks of deceased family members in the ancestral home which were worn by mourners at family funerals (Cartwright).
The masculine and idealized form of the human body is an ever-present characteristic of Michelangelo’s sculpture. Many people over the years have speculated why this may be, but there has never been a definitive answer, and probably never will be. Through all of his sculpture there is a distinct classical influence, with both his subject matter and his inclination to artistically create something beautiful. In most cases, for Michelangelo, this means the idealized human figure, seeping with contraposto. This revival of classical influences is common for a Renaissance artisan, but the new, exaggerated form of the human body is new and unique to Michelangelo’s artistic style.
Conversely, the Roman portrait sculptures might have been used for reserving the memories of loved ones in addition to decorating purposes. According to
The “Equestrian Statue of Marcus Aurelius” was one of the lucky bronze pieces from Ancient Rome. It was lucky because the Ancient Romans often melted their bronze creations to make new ones. While this helped supply artists with material for new statues, the melting of statues has left modern cultures without knowledge of possibly hundreds of Ancient Rome’s finest pieces. Thankfully this statue survived is now at the Museo Capitolino in Rome, where it is an inside exhibit to keep safe from the harsh elements and pollution.
Roman art was also deeply influenced by the art of the Hellenistic world, which had spread to southern Italy and Sicily through the Greek colonies there. The Etruscans and Babylonians can also be seen as inspirations. “With the founding of the Republic, the term Roman art was virtually synonymous with the art of the city of Rome, which still bore the stamp of its Etruscan art” (Honour and Fleming,1999). During the last two centuries, notably that of Greece, Roman art shook off its dependence on Etruscan art. In the last two centuries before Christ, a distinctive Roman manner of building, sculpting, and painting emerged. Indeed, because of the extraordinary geographical extent of the Roman Empire and the number of diverse populations encompassed within its boundaries, “the art and architecture of the Romans was always eclectic and is characterized by varying styles attributable to differing regional tastes and the...
The statue Augustus of Primaporta was not only used to convey the likeness of the Emperor Augustus to his people across the Roman Empire, it was also interspersed with symbols and messages about the ruler’s ideals and power. It was distributed throughout the empire as propaganda for Augustus and as a declaration of the new era he intended to bring about. This strategic imagery and its successfulness in conveying the greatness of its commissioner influenced many successive leaders around the world to command similarly symbolic likenesses to be made of themselves, such as Trajan in the second century CE.
Additionally, the styles changed; from Rococo, which was meant to represent the aristocratic power and the “style that (…) and ignored the lower classes” (Cullen), to Neoclassicism, which had a special emphasis on the Roman civilization’s virtues, and also to Romanticism, which performs a celebration of the individual and of freedom. Obviously, also the subject matter that inspired the paintings has changed as wel...
The Romans have adopted many features from the Greek style of art and architecture during the third and second centuries B.C. During that time period the Romans discovered that they have taking a liking to Greek statues, which they placed in many different places. The Roman sculptors then decided to also start making statues alongside the Greeks. The statues that the Romans created were realistic looking with, sometime, unpleasant details of the body. The Greeks made statues with, what they thought of, ideal appearances in the statues figure. Sculpture was possibly considered the highest form of art by the Romans, but figure painting was very high considered as well. Very little of Roman painting has survived the tests of time.
The Romans on the other hand tended to strive more towards realism in sculpture. Men and women were sculpted in poses they would have been in naturally. For example the sculptures on the frieze of Ara Pacis Augustae illustrate a procession of Romans, all of whom are depicted fully clothed and probably as they would have looked like in real life. There are however a few Roman sculptures that lean toward the ideal. For, example the statue of Augustus of Primaporta. The statue depicts Emperor Augustus in his most ideal form with “a broad cranium, deep-set eyes, and sharp ridges in his brow, a well-formed mouth and a small chin. Furthermore, his face depicted in the manner of Apollo was meant to associate Augustus’ abilities with those of the powerful god” ("Augustus of Prima Porta").
—. "Profile of Nero." Ancient/ Classical History Web site. n.d. http://ancienthistory.about.com/od/nero/p/Nero.htm (accessed March 1, 2014).
Roman artwork is extremely intricate and diverse, however, a lot of what is referred to as Roman art can better be described by the cultures it conquered. The ancient Greeks were the most influential of these cultures, from their temples and sculptures, to their reliefs and paintings. Greece was the first culture to create major programs for sculpture, painting, and architecture. Many of the first Roman artists were of Greek descent as their artwork reflects the Classical and Hellenistic periods of ancient Greece. A lot of what is considered to be Roman artwork is criticized as being mere copies of Greek artwork since they modeled their forms and styles after the Greeks, but other cultures influenced the Romans as well, mainly the Etruscans,