Скульптура

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Скульптура

Portrait Bust of a Roman Lady

Statuette of Mars/Cobannus

Statuette of Venus

Statuette of a Snake-legged Giant

Portrait Head of Julia Titi

Seated Cybele with Portrait Head of her Priestess

Aphrodite - Hygieia with Eros

Cameo Glass Flask

Mold-Blown Cup

Aryballos (Unguentarium)

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Автор: Hanni Robinson. Чтобы познакомиться с фотографией в полном размере, нажмите на её эскиз. Чтобы можно было использовать все фотографии на уроке искусства, скачайте бесплатно презентацию «Скульптура» со всеми фотографиями в zip-архиве размером 192 КБ.

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1		0	13	Julia with a dramatic, curling hairstyle. A diadem	0
2	Roman art 509 BC - 337 AD Sources: www.Getty.edu	0		originally inlaid with materials such as gold, silver,
2	www.arthistory.about.com www.georgeortiz.com.	0		or gems marked her imperial status. Julia would have
3	In terms of style, when Rome conquered Greece, they	0		worn earrings, probably made of gold, which are now
	"adopted" and "borrowed" their			missing; the small holes at either side of her neck
	artistic concepts - thus continuing the tradition of			indicate the original presence of a now-missing
	cultural greatness. By this time, people were in the			necklace. Traces of paint preserved in Julia's curls
	habit of collecting art and placing it in their villas			show that her hair was originally a reddish color. The
	so it was best not to rock the boat - so to speak.			deeply drilled curls and chiaroscuro effect are typical
	Generally speaking, Roman artworks (specifically those			of Roman sculpture in this period. Portraits of the
	works which are now considered to have been the first			women in the imperial family set fashions for the
	civic sculptures) were created to glorify those in			entire Roman Empire. A hairstyle worn by an empress or
	charge. It was thought that the best way to do this was			princess would soon appear on portraits of ladies of
	to make the art big --- really big. And so, arches,			the imperial court and then spread out through the rest
	buildings and statues (eight and a half foot tall busts			of Roman society as a sign of taste and status.
	were not uncommon), dwarfed most everything around			Elaborate curled hairstyles reminiscent of that worn by
	them. Another interesting aspect of the art of Rome is			Julia became the mark of fashionable women in the
	that it depicted people as they really were. After			Flavian period.
	years of "faking it", portraits were crafted		14	Seated Cybele with Portrait Head of her Priestess.	0
	to look like the people they represented rather than		15	Seated Cybele with Portrait Head of her Priestess	0
	idealized versions of the same.			Roman, Rome, about A.D. 50 This large statue of a
4	Portrait Bust of a Roman Lady.	0		seated woman portrays Cybele, the mother goddess, with
5	Portrait Bust of a Roman Lady Roman, Rome, A.D. 150	0		many of her attributes, each signifying a different
	- 160 Although the woman shown in this Roman portrait			role. She wears a crown in the form of a towered wall,
	bust can not be identified, stylistic features reveal			a symbol of her role as protectress of cities. Her
	when and where she was made. Her hairstyle copies one			right hand holds a bunch of wheat and poppy heads, a
	worn by the Empress Faustina, the wife of the emperor			symbol of her role as a goddess of agriculture. Her
	Antoninus Pius, who reigned from A.D. 138 to 161. The			most famous attribute, the lion, sits at her feet,
	highly polished surface of the bust also signals an			symbolizing her power over wild animals. Under her left
	Antonine date for its creation. Portraits of the			arm she holds additional symbols: the rudder and the
	imperial family defined high style and fashion, setting			cornucopia. This statue's most unusual feature is its
	the standards for private portraiture of the social			face, which belongs to an older Roman matron, not an
	elite. This woman appears to be of mature years, yet			idealized goddess. Wealthy Roman women would frequently
	she displays no physical signs of aging. Roman			commission portraits of themselves depicted as if they
	portraits of women tend to be more idealized and less			were goddesses. Cybele is an unusual choice, however,
	individualized than those of men. The political or			which may indicate that this woman was a priestess in
	social message that a portrait conveyed was as			the goddess's service.
	important as its actual resemblance to the person		16	Aphrodite - Hygieia with Eros.	0
	portrayed. For this reason, portraits of Roman women		17	Aphrodite - Hygieia with Eros Roman, Asia Minor,	0
	often are concerned more with representing the latest			A.D. 100 - 200 Standing with her weight on one leg and
	ideas of fashion and beauty than they are with			clothed in a voluminous gown, this statue of a goddess
	depicting actual features.			looks off to her left. Her precise identity is
6	Statuette of Mars/Cobannus.	0		uncertain because the figure displays elements
7	Statuette of Mars/Cobannus Roman, Gaul, A.D. 125 -	0		connected with more than one deity: Hygieia, the
	175 A youthful figure wears a typical costume for the			goddess of health, and Aphrodite, the goddess of love.
	northern Roman provinces: a long-sleeved tunic,			The presence of the small, sleeping Eros, the winged
	leggings, and a cloak fastened with a round brooch. On			young god of love, who leans against her leg, and the
	his head he wears a contemporary Roman helmet, rather			goddess's hairstyle argue in favor of her identity as
	than the classicizing headgear found on most Roman			Aphrodite. Yet the dress the goddess wears and the
	sculpture. The whites of his eyes are silvered and the			snake she holds are more typical of Hygieia.
	irises drilled. The figure's pose looks odd now, but he			Furthermore, the egg she holds, an emblemof Hygieia's
	originally held a spear in his upraised right hand and			father Asklepios, associates her with that goddess. As
	rested his left hand on a shield. The Latin inscription			a relative latecomer to the classical pantheon, Hygieia
	on the base reads, "Sacred to the venerable god			lacked a distinct mythology and hence definitive
	Cobannus, Lucius Maccius Aeternus, duumvir, [dedicated			attributes. Frequently Hygieia was blended or merged
	this] in accordance with a vow." The statue			with another goddess, both in cult practice and in
	probably represents Cobannus, a local deity who was			depictions, and this combination may be represented
	equivalent to Mars, the Roman god of war. The family of			here.
	Lucius Maccius Aeternus is known from other		18	Cameo Glass Flask.	0
	inscriptions in Gaul and must have been important, for		19	Cameo Glass Flask Roman, Rome, about 25 B.C. - A.D.	0
	a duumvir was one of the two chief magistrates of a			25 An Egyptian pharaoh, identified by his crown and
	Roman colony. This statuette is said to have been found			staff, and an obelisk with meaningless hieroglyphs
	in France, in the Roman province of Gaul.			decorate the front of this Roman cameo glass flask. On
8	Statuette of Venus.	0		the other sides, one boy approaches an altar surmounted
9	Statuette of Venus Unknown, sculptor; Roman, 100 -	0		by the Egyptian god Thoth in the form of a baboon,
	1 B.C. With its depiction of Venus, the goddess of			while a second boy approaches another altar decorated
	love, crouching in her bath, this damaged statuette is			with a uraeus or sacred snake. The decoration of this
	a copy of an original large-scale sculpture dating to			small flask, which probably held perfumed oil, may show
	the 100s B.C., probably by Doidalsas of Bithynia. The			the story of the young god Horus, who was brought back
	goddess crouches low in order to allow an attendant,			to life by Thoth after being stung by a scorpion. The
	who is not depicted, to pour water over her. The			imagery on this vessel may have had specific meaning
	original statue showed the interest of Hellenistic			for its owner; or, more probably, it may reflect the
	sculptors in rendering the nude female form. While the			general popularity of Egyptianizing scenes in Roman art
	earlier statue does not survive, later copies such as			after the Roman Empire's annexation of Egypt. Due to
	this piece preserve its general appearance. These			the time and labor involved in its creation, cameo
	copies were especially popular in the Roman period,			glass was very rare. Artisans first covered or encased
	with artists reproducing the original in large numbers			colored glass with opaque white glass. They partially
	in a variety of media and sizes and with slight			cut away the white layer to reveal the colored
	variations of pose. Roman patrons often commissioned			background, then carved the raised white areas in
	miniature copies of large-scale Greek public art for			relief. Artisans practiced this technique almost
	their private use, decorating their homes with the			exclusively in the early Roman Empire.
	statuettes. The use of the valuable medium of rock		20	Mold-Blown Cup.	0
	crystal marks this piece as a prestigious luxury item		21	Mold-Blown Cup Roman, A.D. 1 - 50 "Be glad	0
	for a rich patron.			that you have come" reads the Greek inscription
10	Statuette of a Snake-legged Giant.	0		encircling this Roman mold-blown glass cup. This common
11	Statuette of a Snake-legged Giant Roman, Asia	0		expression urging the drinker to enjoy the moment is
	Minor, 180 - 220 A.D. In Greek mythology the giants,			typical of the friendly exhortations found on early
	children of Ge (Earth) and Uranus (Sky), tried to			Roman cups. Glass vessels decorated with inscriptions
	overthrow the Olympian gods in a mighty battle. This			were extremely popular in the first century A.D. and
	young giant, identified by his snaky legs, was			were found throughout the Roman Empire. An artisan made
	originally shown in combat with a now-missing opponent.			this cup by blowing glass into a baked clay mold, a
	He raises his right arm, wrapped in an animal skin, to			technique that originated in the first century A.D. in
	ward off a blow. The giant's unkempt hair and the			the area of Roman Palestine. This technique allows the
	clumps of body hair sprouting from his chest, belly,			mass-production of identical vessels. At first, the new
	and shoulders emphasize his wildness and barbarity. The			technique was employed to produce ornate vessels, but
	battle between the Olympian gods and the giants was			simple forms were soon manufactured as well.
	extremely popular in Greek art; after the Persian War,		22	Aryballos (Unguentarium).	0
	it became an allegory for battles between Greeks and		23	Aryballos (Unguentarium) Roman, Gaul, A.D. 70 - 100	0
	barbarians. The giant's twisting pose, the intense			Colorful enamel inlays elaborate the twelve large
	pathos of his expression, and the choice of the subject			pentagonal panels covering the surface of this Roman
	itself were deeply influenced by the style of art			bronze aryballos. Within these panels, curling tendrils
	developed in the Greek city of Pergamon in the 100s			on a blue enamel background surround an inner pentagon
	B.C., a style that saw a resurgence in Roman art of the			outlined in red enamel. The inner pentagons contain
	late 100s A.D. This figure may originally have been			different decorative motifs, including birds and
	part of a large group depicting the battle. In the			rosettes. The use of enamel and pentagonal panels is
	Roman period, groups of small bronzes were often used			typical of metal vessels made in northern Gaul. With
	as decorative elements on objects such as furniture or			its round body and broad mouth, this aryballos
	chariots; the attachment hole on the giant's			reproduces the shape of a type of handleless ancient
	"knee" suggests this usage.			Greek vessel used to hold perfumed oils, popular six
12	Portrait Head of Julia Titi.	0		hundred years before this object was made. This Roman
13	Portrait Head of Julia Titi Roman, Italy, about	0		version has an enameled metal handle suspended from
	A.D. 90 Julia Titi was the daughter of the Roman			wire loops. Stylized elephant heads, now missing their
	emperor Titus, who ruled during the Flavian dynasty			trunks, form the attachment points on the mouth of the
	from A.D. 79 to 81. Recorded in history as a wild young			vessel, yet the heavy weight of the metal vessel's body
	woman who was her uncle Domitian's mistress, Julia died			would have made the handle nonfunctional.
	in A.D. 91 at the age of thirty. This portrait depicts
23	«Скульптура» \| Скульптура				0

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