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Portrait Bust of a Roman Lady
Portrait Bust of a Roman Lady
Statuette of Mars/Cobannus
Statuette of Mars/Cobannus
Statuette of Venus
Statuette of Venus
Statuette of a Snake-legged Giant
Statuette of a Snake-legged Giant
Portrait Head of Julia Titi
Portrait Head of Julia Titi
Seated Cybele with Portrait Head of her Priestess
Seated Cybele with Portrait Head of her Priestess
Aphrodite - Hygieia with Eros
Aphrodite - Hygieia with Eros
Cameo Glass Flask
Cameo Glass Flask
Mold-Blown Cup
Mold-Blown Cup
Aryballos (Unguentarium)
Aryballos (Unguentarium)
Фото из презентации «Скульптура» к уроку искусства на тему «Прикладное искусство»

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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10 13Julia with a dramatic, curling hairstyle. A diadem0
2Roman art 509 BC - 337 AD Sources: www.Getty.edu0 originally inlaid with materials such as gold, silver,
www.arthistory.about.com www.georgeortiz.com. or gems marked her imperial status. Julia would have
3In terms of style, when Rome conquered Greece, they0 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 14Seated Cybele with Portrait Head of her Priestess.0
to look like the people they represented rather than 15Seated Cybele with Portrait Head of her Priestess0
idealized versions of the same. Roman, Rome, about A.D. 50 This large statue of a
4Portrait Bust of a Roman Lady.0 seated woman portrays Cybele, the mother goddess, with
5Portrait Bust of a Roman Lady Roman, Rome, A.D. 1500 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 16Aphrodite - Hygieia with Eros.0
portrayed. For this reason, portraits of Roman women 17Aphrodite - 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
6Statuette of Mars/Cobannus.0 uncertain because the figure displays elements
7Statuette 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 18Cameo Glass Flask.0
inscriptions in Gaul and must have been important, for 19Cameo 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
8Statuette of Venus.0 the other sides, one boy approaches an altar surmounted
9Statuette 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 20Mold-Blown Cup.0
crystal marks this piece as a prestigious luxury item 21Mold-Blown Cup Roman, A.D. 1 - 50 "Be glad0
for a rich patron. that you have come" reads the Greek inscription
10Statuette of a Snake-legged Giant.0 encircling this Roman mold-blown glass cup. This common
11Statuette of a Snake-legged Giant Roman, Asia0 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, 22Aryballos (Unguentarium).0
it became an allegory for battles between Greeks and 23Aryballos (Unguentarium) Roman, Gaul, A.D. 70 - 1000
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
12Portrait Head of Julia Titi.0 hundred years before this object was made. This Roman
13Portrait Head of Julia Titi Roman, Italy, about0 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
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