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The art of ancient Rome, like that of ancient Greece, developed within the framework of a slave society, so it is these two main components that are meant when they talk about “ancient art.” Usually in the history of ancient art they follow a sequence - first Greece, then Rome. Moreover, they consider the art of Rome to be the completion artistic creativity ancient society. There is a logic to this: Hellenic art flourished in the 5th - 4th centuries. BC e., the heyday of the Roman - in the I-II centuries. n. e. And yet, if you consider that the date, even legendary, of the founding of Rome is 753 BC. e., then we can attribute the beginning of activity, including artistic activity, of the people who inhabited this city to the 8th century. BC e., that is, a century when the Greeks had not yet built monumental temples, did not sculpt large sculptures, but only painted the walls of ceramic vessels in a geometric style.
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Portrait of Pompey It is necessary to note the evolution - from portraits of the Romans of the Early and Mature Republic, closed in their isolated family world, - to portraits of figures of the Late Republic, such as Pompey, Caesar, Cicero. The plasticity of these images embodies almost imperial claims. The significance of what is depicted, which acquires a strong public resonance, goes beyond republican ideas.
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Pompeii. Street in the city Sculptors of those years sought first of all to amaze people. The sculptor Zenophorus erected a huge statue of Nero, towering for a long time at the lobby of the Golden House. It was a grandiose portrait, which probably instilled fear in the Romans, and had nothing in common with the ears of the ancient Greeks themselves. However, chamber sculpture also became widespread in the first period of the flowering of the art of the Empire - marble figurines that decorated the interiors, quite often found during excavations of Pompeii, Herculaneum and Stabia.
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Colosseum The Colosseum, the largest of the ancient Roman amphitheatres, is one of the famous ancient monuments of ancient Rome and one of the most remarkable structures in the world. It is located in Rome, in the hollow between the Esquiline, Palatine and Caelian hills, in the place where there was a pond that belonged to the Golden House of Nero. The Colosseum was originally called the Flavian Amphitheater because it was a collective structure of the Flavian emperors. Construction was carried out over 8 years, in 72-80. n. e.
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The symbol of Rome is the famous Capitoline She-wolf. The Capitoline Wolf (lat. Lupa Capitolina) is an Etruscan bronze sculpture, stylistically dating back to the 5th century BC. and has been kept in Rome since antiquity. Depicts (approximately life-size) a she-wolf feeding milk to two babies - Romulus and Remus, the legendary founders of the city. It is believed that the wolf was a totem of the Sabines and Etruscans, and the statue was moved to Rome as a sign of the merger of the Romans with these peoples.
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Basilica Aemilia The Basilica Aemilia, the remains of which can still be seen on the north side in front of the Basilica Julia, was built in 179 BC. e. Marcus Aemilius Lepidus and Marcus Fulvius Nobilior on the site of an older temple. Now it’s hard to believe, but Pliny the Elder called the basilica one of the most beautiful buildings in the world. The basilica had three naves and three entrances from the square, large windows to illuminate the interior, and relief decorations depicting the mythical foundation of the city. During the reign of Augustus, the portico of Gaius and Lucius was built opposite the basilica.
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Neptunov's Cart In 1736, the sculpture and fountain composition "Neptunov's Cart" was placed in the central pool of the Upper Park. The sculptures were cast from lead and gilded. The center of the composition was the figure of Neptune “with a carriage,” as well as dolphins and “riders” on horses. The central jet of the fountain raised a gilded copper ball. After repeated restorations, “Neptunov’s Cart” still had to be removed in 1797. They installed it instead new group- “Neptune”, which continues to this day. Initially, the fountain figures were created in Nuremberg (Germany). In 1660, Georg Schweigger and the goldsmith Christoph Ritter presented the model in the form of its component parts. Then Schweiger and his student Jeremias Eissler worked on the model until 1670, but the complete set of figures was completed only in 1688-1694. The casting was made by Heroldt (German: W.H. Heroldt). The fountain was never exhibited in Nuremberg, but became known as a unique landmark, even while in storage. In 1796, the bulk of the figures were purchased by Russia and sent to Peterhof. The copy currently installed in the Nuremberg city park has been there since 1902.
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Pantheon Pantheon (Ancient Greek πάνθειον - a temple or place dedicated to all gods, from Ancient Greek πάντεζ - all and θεόζ - god) - “temple of all gods” in Rome, a monument of centric-domed architecture from the heyday of Ancient architecture Rome, built in the 2nd century AD. e. under Emperor Hadrian on the site of the previous Pantheon, built two centuries earlier by Marcus Vipsanias Agrippa. The Latin inscription on the pediment reads: “M. AGRIPPA L F COS TERTIUM FECIT", which translated sounds like: "Marcus Agrippa, son of Lucius, elected consul for the third time, erected this."
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Fountain of the Turtles The Fountain of the Turtles in the small Piazza Mattei is the most charming of the fountains in Rome. Its beauty, its graceful lines make one believe in the legend that this pearl of late 16th century art belongs to Raphael. However, it is the work of Landini (1585).
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Reliefs with figures of Roman dignitaries spoke, captivating the crowd: from here Cicero spoke against Catiline, and Antony moved the Romans with his eulogy on the death of Caesar. But the moments of splendor were followed by a gradual decline, and first the Forum had to give way to the new forums of the imperial era, after which it, along with the entire Roman civilization, shaken by the invasions of the barbarians, plunged into the darkness of the long Middle Ages. In the last century, however, interest in archeology arose and systematic excavations began.
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Temple of Antoninus and Faustina Erected by the Senate in 141 AD. in honor of Faustina, wife of Antoninus, deified after death. Later it was dedicated to the emperor himself. What remains of the temple are Corinthian columns supporting an amazingly painted entablature. In the 11th century the temple was converted into Christian Church, dedicated to San Lorenzo in Miranda and rebuilt in the 17th century.
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Temple of Romulus This temple was thought to have been erected by Maxentius for the son of Romulus, who died as a child in 307 AD, but it is probably we're talking about about the Penatov temple, built on the site of one previously destroyed temple, on the ruins of which a large basilica was built. Most of the temple was preserved thanks to its transformation into the atrium of the Church of Saints Cosmas and Damian (6th century AD).
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Hippodrome of Domitian The great Hippodrome of the Palatine is 160 meters long and 50 meters wide. The wall structures were made of baked bricks with marble cladding. The stadium was surrounded by a portico; on one of its sides there was a platform from which the emperor watched the spectacles and performances of gymnasts.
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Roman art completes the centuries-old path begun by Hellenic culture. It can be defined as a phenomenon of the transition period from one artistic system to the other, like a bridge from antiquity to the Middle Ages. At the same time, just as each work is not only a link in a chain artistic development, but also a unique individual phenomenon, Roman art is holistic and original. The “audience” of ancient Roman art, especially during the Late Empire, was larger than that of Greek art. Like new religion, which captured wide circles of the population of the eastern, western and north African provinces, the art of the Romans influenced a huge number of inhabitants of the empire, including emperors, influential officials, ordinary Romans, freedmen, and slaves. Already within the empire, an attitude was developing towards art as a phenomenon that united people of different classes, races, and social positions.
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But in ancient Rome, not only general aesthetic qualities were formed, which determined the nature of the future culture; methods were also developed that were followed by artists of later times. IN European art Ancient Roman works often served as original standards, which were imitated by architects, sculptors, artists, glassblowers and ceramists, gem carvers and decorators of gardens and parks. The priceless artistic heritage of ancient Rome lives on as a school of classical excellence for modern art.
PAINTING OF ANCIENT ROMEPAINTING OF ANCIENT ROME
The art of Ancient Italy and Ancient Rome breaks down intothree main periods:
1. Art before Roman Italy (3 thousand BC - 3 century BC);
2. Art of the Roman Republic (3rd-1st centuries BC);
3. Art of the Roman Empire (late 1st century BC - 5th century AD).
PAINTING OF ANCIENT ROME
In ancient Rome, painting was valued much more thansculpture. Roman palaces, public buildings,
amphitheaters were decorated with sculptures, wall
murals, mosaics and paintings.
The main pictorial subjects were myths.
But only easel painting was considered art -
as opposed to the artisanal creation of frescoes.
Unfortunately, to this day, examples of easel painting
(that is, paintings painted on canvas) of those times
have not survived, we know that the leader in this genre was
portrait.
PAINTING OF ANCIENT ROME
Most of the painting of ancient Rome were frescoes,they depict the artists themselves, created and various
easel paintings. These have survived to this day
greatest works of wall painting
indicate that ancient Roman artists in
mastered the brush perfectly. Of the surviving
monuments are frescoes from Pompeii, where we see
everyday scenes depicted in bright colors,
still lifes and mythological scenes in which
gods and heroes appeared. These frescoes were painted in I-V centuries. They illustrate all major genres
painting that existed at that time: landscapes, still lifes, religious paintings (on
mythological and religious themes), portraits and nudes. Although
frescoes were considered more of a craft than an art, undoubtedly, many creators
wall paintings were Greeks and took inspiration from those lost today
easel paintings.
PAINTING OF ANCIENT ROME
Painting by purpose (Gender):Genres of painting:
1. Domestic (scenes of hunting, fishing,
1. Monumental (tomb paintings –
fresco; mosaic);
2. Decorative (vase painting, ornament);
3. Easel (Fayum portrait, landscape,
still life, iconic painting(on
mythological and religious themes),
battle, everyday scenes and nudes
nature).
Material: wax paints, stone,
smalt, glass, ceramics
dances, feast scenes);
2. Battle (scenes of bloody fights,
wrestling athletes);
3. Mythological (scenes from
ancient greek mythology, scene
death, travel in the afterlife
kingdom, judgment over the souls of the dead);
4. Portrait;
5. Still life (mid-1st century). Ancient Roman artists painted mainly on a white or black background. They
knew some laws of perspective and achieved imaginary expansion
space of the painting, framing it with decorative architectural
elements.
Fragment of a fresco from Boscoreale
PAINTING OF ANCIENT ROME
Landscapes, buildings, people and animalsthey depicted using almost
impressionistic techniques
overlaying paints and pastels
tones. The paintings were usually decorated
corridors and walls of the dining room. They
illuminated by fluctuating light
oil lamps, which gave
they look even more fabulous.
Julius Caesar is credited with introducing
fashion for fine art exhibitions
in public places. Near
I century in the capital there were hundreds
works by famous Greek
painters. The tranquil landscapes were meant to reflect the peace and prosperity that brought
Emperor Augustus and his descendants after decades civil wars who ruined the country
until the 1st century. The same idea should have been reflected in still lifes, in which there is an abundance of
fruits, vegetables, fish and game were depicted. This genre came to Rome from Greece
and was called xenia, just like the fruits that the Greek offered as a greeting
to your guests.
EASEL PAINTING
In a Roman easelpainting the most
common genre
there was a landscape. Typical
Roman elements
landscapes: “harbours, capes,
sea coast, rivers,
fountains, straits, groves,
mountains, cattle
and shepherds."
PAINTING TECHNIQUES
Painting technique:1. Fresco (painting based on
wet plaster);
2. Tempera painting;
3. Mosaic;
4. Encaustic (wax
painting);
5. Glue painting (paints
get divorced by the one who binds them
liquid, such as glue,
egg, milk, wood
juice and then applied to
homogeneous surface).
CHARACTERISTIC FEATURES OF PAINTING
1.2.
3.
Multifaceted
compositional construction;
Free plastic modeling
figures that naturally
are located in the surrounding
space, or exactly
connected to the plane of the wall;
Bright colorful combinations
(various shades) - II-I
centuries AD
Inlay style - it was geometric ornament, resembling a lining
walls with precious stones.
MONUMENTAL PAINTING STYLES
MONUMENTAL STYLESPAINTINGS
"Architectural", or second
Pompeian style 1st century. BC e., the walls of the houses turned into
a semblance of a cityscape,
which included images of colonnades,
all kinds of porticoes and facades
buildings.
Wall art. On absolutely
the smooth surface of the wall was depicted
life-size facades
landscape background. The interior is written like this
illusory, as if they
really stand around, forming
almost entire blocks.
Fersca from Boscoreale
MONUMENTAL PAINTING STYLES
"Candelabra style"(late 1st century BC) - 50s I century n.
e.). The masters returned to
flat decorative
ornaments. Among the architectural
light openwork forms predominated
structures reminiscent
tall metal
candelabra, between them
were placed enclosed in frames
pictures (“Narcissus”). Their stories
unpretentious and simple, often
associated with shepherd life.
Fresco painting "Narcissus"
MONUMENTAL PAINTING STYLES
Ornamental and decorative - light,graphic patterns, small paintings
set against a backdrop of vast
spaces.
Golden House of Emperor Nero
MONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
MONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
MONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
MONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
Pompeii fresco Pompeii fresco Fresco "Isis and Io" from the Temple of Isis in Pompeii Pompeii fresco Pompeii fresco Pompeii fresco Pompeii fresco The Rape of Europa. Pompeii fresco Pompeii frescoMONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
Pompeii frescoMONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
Pompeii frescoMONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
Pompeii fresco Portrait of the spouses. Fresco from PompeiiMONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
Starting from the middle of the 1st century. in the visual artsa genre began to emerge in art
still life. Originating in the Late Classic
IV century BC e. and brilliantly developed in
Hellenistic era, still life has now acquired
new meaning. “High” and
"low" directions. The Romans often
depicted butcher shops with hanging
animal carcasses. However, they also wrote deeply
symbolic works full of secret
sense. This type of painting was done
in the tomb of Vestorius Priscus in Pompeii. IN
the center of the composition is a golden table against the background
scarlet drapery. There are silver coins on the table
elegantly shaped vessels - all paired,
arranged strictly symmetrically: jugs,
wine horns, scoops, bowls. All these
objects seem to be grouped around
central crater - a vessel for
mixing wine and water, god incarnate
fertility of Dionysus-Liber.
Peaches and glass jug. Fresco from Herculaneum. About 50
Fresco
MONUMENTAL PAINTING OF ANCIENT ROME (MOSAIC)
It is impossible to imagine without Roman mosaicsancient Roman art. Mosaic floor compositions
from colored stones, smalt, glass, ceramics
found throughout ancient Rome.
The oldest examples of Roman mosaics,
found during archaeological excavations, belong to IV
century BC And during the heyday of the Roman Empire
mosaic has become the most common method of decoration
interior, both palaces and public baths,
and private atriums.
SUBJECTS OF ROMAN MOSAICS
Subjects of Roman mosaicsare limitless and vary from
relatively simple ornaments
to multi-figure artistic
paintings with complex
spatial orientation.
Wreaths made of grape leaves and
hunting scenes with detailed
images of animals,
mythological characters and
heroic campaigns, love
stories and genre scenes from
everyday life, sea
travel and military battles,
theatrical masks and dance steps. Selecting a plot for a specific
mosaics determined or by the customer
(sometimes the mosaic even captured
portrait of the owner of the house, for example),
or the purpose of the building.
In ancient Rome, mosaics were used
for decorating almost any
significant structures - urban and
country villas of the nobility, city
thermal baths, palaces.
Athletes. Mosaic of the floor of the Baths of Caracalla, 3rd century.
MONUMENTAL PAINTING (MOSAIC)
Characteristicsstone mosaic:
Background elements of Roman mosaics are light
and large enough, it is formed
plain stones with chaotic
laying in no particular order.
Elements of drawings and figures are smaller,
but often still large for the selected
drawing.
The variety of colors depends on
capabilities of a master in some
specific settlement or financial
customer capabilities.
If the mosaics of large palaces are sometimes
amazes with the sophistication of the color scheme,
then small compositions seem
limited in choice of colors.
MONUMENTAL PAINTING (MOSAIC)
Ancient Roman stained glass mosaicMosaic of Ancient Rome. I-IV centuries AD
The art of composing stone
mosaics began with simple
patterns of colored pebbles, which
the ancient Greeks decorated the interior
courtyards of their houses. Later at
interior design of palaces and
granite began to be used in temples,
marble, semi-precious and even
gems. First
laid out the floors, from the second they created
amazingly beautiful panels.
The villas of the nobles of Ancient Rome were decorated with marble floors and mosaics
made of multi-colored stone in the form of complex ornaments and entire paintings with
mythological stories
FLOOR STONE MOSAIC OF ANCIENT ROME
Thanks to these propertiesstone like strength,
resistance to destruction and
aging, we can still
admire the fragments
amazing mosaic floors
in ancient monuments
architecture preserved in
territory of Hellas. For example, in
Temple of Zeus (5th century BC)
images of sea deities in
framing ornaments
composed of small (about 1 cm in
diameter) chopped pieces
stones of different colors. So
one of the main
mosaic technique
drawings - typesetting.
Roman mosaic. Cologne. Ceramics and stone
FLOOR MOSAIC OF ANCIENT ROME
Roman floor mosaics in the villaRomano del Casale in Piazza Armerina is a unique “window” to the Ancient World.
The resulting surface is either
polished, or, if it was on
sufficient distance from the viewer,
left rough. Seams between
cubes could differ in thickness,
what gave the image the effect
volume.
MONUMENTAL PAINTING (MOSAIC)
Battle of Alexander the Great with Darius III at Issus. Mosaic from the House of Faunin Pompeii. Naples. National Museum Alexander the Great. Fragment of a mosaic from Pompeii
MONUMENTAL PAINTING (MOSAIC)
Battle of centaurs with predators. Mosaic of Hadrian's Villa in Tivoli. Berlin.State Museum
MONUMENTAL PAINTING (MOSAIC)
Deer hunting.Dionysus.
Mosaic from the palace of the Macedonian kings in Pella
MONUMENTAL PAINTING (MOSAIC)
Mosaic of a Roman villa depicting a fishing scene in the gardenMONUMENTAL PAINTING (MOSAIC)
Mosaic of a Roman villa depicting a scene with animalsAncient Roman artists sought
to maximum similarity at
images of people. Example
famous people can serve this purpose
Fayum portraits (I-III centuries). They
formed under the influence
Greco-Roman tradition.
They were usually depicted
representatives of the Roman elite, about which
evidenced by clothing, jewelry
and the hairstyles of the people depicted.
EASEL PAINTING (Fayum portrait)
And these are perfectly preservedin the desert paintings, according to
specialists cannot be named
exclusively local
phenomenon - art
painting in Apennine
the peninsula achieved this
high level, at least
and has not survived to this day.
Portrait of an elderly man. Encaustic. End of the 1st century AD
EASEL PAINTING (Fayum portrait)
FAYUM PORTRAIT (by nameFayum oasis in Egypt, where we were for the first time
found and described). These are posthumous
picturesque images of the deceased
created using encaustic technique in Rimsky
Egypt I-III centuries. Got their name
at the site of the first major find in
Fayum oasis in 1887 British
expedition led by Flinders Petrie.
They are an element modified under
Greco-Roman influence of the local
funeral tradition: a portrait replaces
traditional funeral mask
mummies. Found in the collections of many
museums around the world, including the British
museum, the Louvre and the Metropolitan Museum of Art
New York.
EASEL PAINTING (Fayum portrait)
Fayum portrait distinguishedvolumetric light-and-shadow modeling of ceramic ware of Ancient Rome. Were here
vessels with relief are widespread
ornament, covered with transparent glaze.
Roman builders widely used ceramics, from
it is performed by complex architectural details.
Ancient Roman vase painting. Red-figure style ORNAMENT
ANCIENT ROME
Ornament in the suit:
The color scheme in Roman costume is bright,
colorful, primary colors are purple, brown,
yellow. During the Empire, color scheme
acquires a complex, refined character in
shades and color combinations: light blue and
green with white, light purple with yellow,
grayish blue, pinkish lilac.
Late Roman fabrics had a geometric pattern
ornamentation - circles, squares, rhombuses with
with rosettes, quatrefoils inscribed in them,
stylized leaves of ivy, acanthus, oak, laurel,
garlands of flowers. The patterns were embroidered or woven
two or three colors, together with gold decor
gave the fabric a special splendor and luxury. ORNAMENT
ANCIENT ROME
Many forms of decoration were borrowed from the Greeks
by the ancient Romans. Having adopted many from the Greeks
ornamental motifs, the Romans creatively
reworked according to their tastes and mentality.
In the ornament a fundamentally new thing appears for
ancient culture quality - it appears
“personal” interaction between characters.
The main Roman elements of ornamentation are
leaves of acanthus, oak, laurel, climbing shoots,
ears of corn, fruits, flowers, figures of people and animals,
masks, skulls, sphinxes, griffins, etc. Along with
they depicted vases, war trophies,
flying ribbons, etc. Often they have
real form. The ornamentation carried within itself and
certain symbols, allegory: the oak was considered
symbol of the highest heavenly deity, the eagle -
symbol of Jupiter, etc.
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Culture of Ancient Rome World art culture Lesson-presentation by Vasiliev O.N. Lomovskaya secondary school Dyudkovo 2009Slide 2
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Worship of the gods The Romans revered the gods of fate, cities, and the patron spirits of every person. The gods of the hearth occupied a special place in their beliefs. To perform rituals in honor of the household gods, the Roman family gathered around the home altar. Lararia were built in the houses - something like a small chapel, where there were wax figurines of Lars (patrons of the house) and Penates (guardians of the hearth and food supplies). The head of the family placed honey cakes, wine, flowers in front of the altar, or threw part of the dinner intended for the gods into the flames of the hearth. The cult of the Genius, the patron saint of the emperor and all men, was of national importance. Juno patronized women.
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Rome During the heyday of the Empire, the Roman type of urban planning spread: the city consisted of residential neighborhoods, public buildings, squares (forums) and artisan districts. The Romans learned to make a material like concrete from lime mortar, crushed stone and volcanic sand, which made it possible to build massive and durable structures. From the Etruscans, the Romans took architectural elements such as the arch and vault. From the Greeks, the Romans borrowed architectural orders.
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Appian Way Roman roads were of great strategic importance; they united various parts of the country. The Appian Way leading to Rome (VI-III centuries BC. Named after the builder - censor Appius Claudius Caecus) for the movement of cohorts and messengers was the first of a network of roads that later covered the whole of Italy. Near the Aricchi valley, the road, paved with a thick layer of concrete, crushed stone, lava and tuff slabs, ran along a massive wall (197 m long, 11 m high) due to the terrain, dissected in the lower part by three through arched spans for mountain waters.
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Aqueducts and viaducts Rome is gradually becoming the most water-rich city in the world. Powerful bridges and aqueducts (the aqueduct of Appius Claudius, 311 BC, the aqueduct of Marcius, 144 BC), running tens of kilometers, took a prominent place in the architecture of the city, in the appearance of its picturesque surroundings AQUEDUCT (lat. ., from “water” and “I lead”) - a bridge with a grooved water pipeline and arched spans, sometimes in several tiers in places of depression earth's surface. VIADUK (Latin, from “path, road” and “lead”) - a bridge over which a section of the road passes at its intersection with a ravine, gorge, another road, etc.
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Thermal baths Public baths (thermal baths) were equipped with a gymnasium, playgrounds, and swimming pools with hot, warm and cold water. The baths were a favorite vacation spot for the Romans. There they exercised and exchanged news. Instead of soap, olive oil was rubbed into the skin. After the steam room we plunged into a pool of cold water. Then we had a massage and went home for dinner.
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Roman Forum The center of life in Rome, the capital of the empire, was the square lying between two hills - the Capitol and the Palatine. It was called Forum Romanum. People's assemblies were held here, where laws were discussed, issues of war and peace were decided, and trade deals were concluded. The square was lined with buildings decorated with marble and bronze statues, columns and arches that were erected in honor of the victories of Roman emperors and generals.
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Triumphal Arches Triumphal Arch of Constantine. IV century. Rome. The Arch of Emperor Titus was built in honor of his victory over rebellious Palestine. A bronze sculptural group was erected on it: Titus, accompanied by the food goddess Victoria, sat on a chariot drawn by four horses. Similar arches were called triumphal, as they were associated with triumph - the ceremonial entry of the conqueror into the city. The habit of erecting triumphal arches spread throughout Europe.
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Trajan's Column In addition to arches, monument columns were also built in Rome. This is Trajan's Column (architect Apollodorus), erected in 113 in honor of the Roman victory over the Dacians. The column, made of 17 drums of Carrara marble, rose 30 m and was crowned with a bronze statue of Emperor Trajan. The outside of the column was decorated with marble slabs with reliefs the most important episodes wars with the Dacians. This sculptural ribbon, about 22 meters long, encircles the entire column
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The Pantheon - the temple of all gods For many centuries, this temple was an unsurpassed example of a building topped with a dome. The grandiose round space of the temple is covered by a spherical bowl of a dome with a diameter of 43.2 m. In the center of the dome there is a window with a diameter of 9 m, through which streams of sunlight pour. The entire weight of the huge dome is supported by eight massive pylon supports hidden in the wall. They are connected to each other by a system of brick arches. The wide stone pediment of the portico rests on 8 columns. The Pantheon is considered the most perfect example of Roman architecture, both technically and artistically.
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Colosseum During the imperial Flavian dynasty in 75-80. A grandiose amphitheater was built in the center of Rome. In the Middle Ages, it received the name “Colosseum” - from the Latin word “colossus” - colossal. The Colosseum is a huge oval bowl measuring 188x156 m with rows of seats that go down to the center - the arena. Gladiator fights and fights between people and animals took place here. They could be watched by up to 56 thousand spectators. The structure is surrounded by a powerful wall. It is divided into 4 tiers, consisting of pillars and arches. Each tier was decorated with columns of a different type: the lower one - Doric, the second - Ionic, the third - Corinthian. The fourth tier was a blank wall, dissected by Corinthian pilasters - projections. Thus, the Roman architect skillfully and in his own way used the Greek order system, supplementing it with Roman elements - an arch and a vault.
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Sculptural portrait The Romans borrowed from the Etruscans the custom of honoring dead ancestors. A plaster or wax mask was removed from the face of the deceased and displayed in the front room. During the funeral procession, masks not only of the deceased, but also of their ancestors were carried behind the coffin. This custom taught the Romans to see in a portrait not an ideal hero, but a real person, and to value the authenticity of a sculptural portrait.
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Sculptural portrait in the 2nd-1st centuries. BC e. The Roman nobility was given the right to erect their statues in public places. They depicted specific people, and the sculptors sought to convey external resemblance, but without idealization
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Frescoes Wall frescoes - true masterpieces of painting - were found in the so-called Villa of the Mysteries in Pompeii. They depict not only mythical characters, participants in initiation into the cult of the god Dionysus, but also the mistress of the villa, the girl serving her, and the winged goddess. Roman frescoes often repeated paintings by Greek masters. Landscapes, gardens and parks, cities and temples, birds and animals are depicted in these paintings.
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Frescoes Fresco "Spring" from the city of Stabius, near Pompeii. The girl, symbolizing spring, moves away from the viewer into the depths of space, breathing coolness and freshness. In her left hand she holds a cornucopia, and with her right hand she gently touches a flower rising from the ground. Her golden yellow cape Brown hair and the pink tone of the bare shoulders are in amazing harmony with the bright green background of the flowering meadow. The joy associated with the arrival of spring, with the warm spring sun, the fragrance of blossoming nature, the feeling of the lightness of the girl’s movements, as if floating through the air, permeate the entire pictorial composition.
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art Etruscans ETRUSSIANS lived on the territory of modern Italy in the 1st millennium BC. e.
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* * THIS people had their own philosophy, their own ideas about life and death, a special perception of the world around them.
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* * “EVENING SHADOWS” - unnaturally elongated female and male sculptures associated with the cult of the dead (II-I centuries BC).
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* * Believer. From the sanctuary of Diana of Nemia. Ancient Rome 200 - 150 BC e. France, Paris, Louvre
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* * What is he like, a man of that era? This is how the famous Roman orator and public figure Cicero (106-43 BC) introduces him in his treatise “06 Duties”: “A citizen of strict rules, brave and worthy of primacy in the state. He will devote himself entirely to serving the state, will not seek wealth and power, and will protect the state as a whole, taking care of all citizens... he... will adhere to justice and moral beauty.”
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* * Capitoline Brutus Ancient Rome 210 - 190 BC. e. Italy, Rome, Palazzo Dei Conservatori
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* * Statue of Octavian Augustus from Prima Porta Ancient Rome 20 AD e. Vatican, Vatican Museums
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Octavian Augustus of Prima Porta. Octavian's father, Gaius Octavius, came from a wealthy plebeian family that belonged to the equestrian class; Julius Caesar made him a patrician. Mother, Atia, came from the Julian family. She was the daughter of Julia, Caesar's sister, and senator Marcus Atius Balbinus, a relative of Gnaeus Pompey. Guy Octavius married her for a second marriage, from which Octavian’s sister, Octavia the Younger, was born (she was called the Younger in relation to her half-sister). Octavian received the nickname “Furin” in the year of his birth in honor of his father’s victory over the fugitive slaves of Spartacus, won in the vicinity of the city of Furia. Augustus tried not to use the name “Octavian”, as it reminded him that he had entered the Yuli family from the outside, and not by direct descent.
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Gaius Julius Caesar Octavian August The foundations of art were laid during the reign of Octavian Augustus. It's a time different high level development of culture, it is no coincidence that they call the “golden age” of the Roman state. It was then that it was created official style Roman art, most clearly manifested in the numerous statues of Octavian Augustus.
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* * The Roman writer Suetonius (c. 70 - c. 140) noted: “He rejoiced when someone, under his piercing gaze, lowered his head, as if under the dazzling rays of the sun.”
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The statue of Marcus Aurelius is a bronze ancient Roman statue that is located in Rome in the New Palace of the Capitoline Museums. It was created in the 160-180s. Originally, the gilded equestrian statue of Marcus Aurelius was installed on the slope of the Capitol opposite the Roman Forum. This is the only equestrian statue that has survived from antiquity, since in the Middle Ages it was believed that it depicts St. Konstantin.
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In the 12th century, the statue was moved to Piazza Lateran. In the 15th century, the Vatican librarian Platina compared the images on the coins and recognized the identity of the horseman. In 1538 it was placed on the Capitol by order of Pope Paul III. The base for the statue was made by Michelangelo. The statue is only twice life size. Marcus Aurelius is depicted wearing a soldier's cloak (over a tunic). Under the horse's raised hoof there was formerly a sculpture of a bound barbarian.
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* * In the era of revaluation of values, he expressed his worldview this way: “Time human life- a moment, its essence is an eternal flow, sensation is vague, the structure of the whole body is perishable, the soul is unstable, fate is mysterious, glory is unreliable" (From the diary "Alone with Oneself")
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Septi mii Bassia n Karakalla (186-217) - Roman emperor from the Severan dynasty. One of the most cruel emperors. A sharp turn of the head, swiftness of movement and tense muscles of the neck allow one to feel assertive strength, temper and furious energy. Angrily knitted eyebrows, a wrinkled forehead, a suspicious look from under the forehead, a massive chin - everything speaks of the emperor’s merciless cruelty.
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* * Portrait of Caracalla Ancient Rome 211 - 217 AD e. Italy, Rome, National Roman Museum
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* * Aulus Metel Ancient Rome 110 - 90 BC e. Italy, Florence, Archaeological Museum
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The bronze statue of Aulus Metellus from the Florence Museum, also executed by an Etruscan master of that time, although it still retains in the plastic interpretation of the form all the features of an Etruscan bronze portrait, is essentially already a Roman monument, full of a civic, social sound, unusual for Etruscan art. In the bust of Brutus and the statue of Aulus Metellus, as in many portraits from alabaster urns, the boundaries of the Etruscan and Roman understanding of the image came closer. Here we should look for the origins of the ancient Roman sculptural portrait, which grew not only on a Greco-Hellenistic, but primarily on an Etruscan basis.
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The figure of a mature man, who leaves his right shoulder open, and wears a tunic. Wearing high Roman style shoes with laces. The head is slightly turned to the right. The hair is short, with small strands. Wrinkles on the forehead, as well as in the corners of the mouth and empty eyes, which should have been filled with inserts of another material. The right arm is raised and extended forward, with an open hand; left hand with a half-closed hand lowered down along the body, under the toga. On the ring finger of the left hand there is a ring with an oval frame. The left leg is slightly bent forward. Attributed to Aretina production.
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* * Portrait of a “Syrian woman” Ancient Rome Around 170 Russia, St. Petersburg, Hermitage
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The expressive realistic portrait, made of marble, is a wonderful example of deep and accurate psychological characterization and brilliant craftsmanship. A thin, elongated face with irregular and even ugly features is touching and attractive in its own way.
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* * Young handsome Antinous is the favorite of Emperor Hadrian. During the emperor's journey along the Nile, he committed suicide by throwing himself into the Nile. The grief-stricken emperor established something like the cult of Antinous. There was even a legend that the young man, in order to distract the oracle’s formidable prediction from the emperor, sacrificed himself. This found support among the masses, as it again revived the cult of the dying and reborn god.
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* * Mother and baby (“Mater-matuta”) Ancient Rome 450 BC. e. Italy, Florence. Archaeological Museum
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* * The image of a seated woman with a child in her arms is the Etruscan-Latin deity of the Great Mother (“Mater-matuta”). Already in this sculpture, features of the Etruscan character appeared: squat proportions, frozen tension of the figure. The composition includes two winged sphinxes - a favorite Etruscan motif - on both sides of the throne. Being an anthropomorphic (that is, represented in the image of a person) canopic urn, the statue is associated with the cult of the dead.
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Mysteries - worship, a set of secret religious events dedicated to deities, in which only initiates were allowed to participate. They were often theatrical performances. Mysteries Ancient Greece represent an original episode in the history of religions and in many respects are still mysteries. The ancients themselves attached enormous importance to the mysteries: only those initiated into them, according to Plato, are blissful after death, and according to Cicero, the mysteries taught both to live well and to die with good hopes.
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* * Villa of Mysteries. Wall painting Ancient Rome Approx. 100 BC e. Italy, Pompeii
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Etruscan fine art
ETRUSCIANS lived on the territory of modern Italy in the 1st millennium BC. e.
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THIS people had
02/17/2017 3 their own philosophy, their own ideas about life and death, a special perception of the world around them.
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"EVENING SHADOWS" -
02/17/2017 4 unnaturally elongated female and male sculptures associated with the cult of the dead (II-I centuries BC).
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02/17/2017 5 Believer. From the sanctuary of Diana of Nemia. Ancient Rome 200 - 150 BC e. France, Paris, Louvre
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02/17/2017 6 Capitoline wolf Ancient Rome 500 BC. e. Italy, Rome, Capitoline Museum
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What is he like, a man of that era? This is how the famous Roman orator and public figure Cicero (106-43 BC) introduces him in his treatise “06 Duties”: “A citizen of strict rules, brave and worthy of primacy in the state. He will devote himself entirely to serving the state, will not seek wealth and power, and will protect the state as a whole, taking care of all citizens... he... will adhere to justice and moral beauty.”
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02/17/2017 10 Capitoline Brutus Ancient Rome 210 - 190 BC. e. Italy, Rome, Palazzo Dei Conservatori
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02/17/2017 11 Statue of Octavian Augustus from Prima Porta Ancient Rome 20 AD. e. Vatican, Vatican Museums
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Octavian Augustus of Prima Porta. Octavian's father, Gaius Octavius, came from a wealthy plebeian family that belonged to the equestrian class; Julius Caesar made him a patrician. Mother, Atia, came from the Julian family. She was the daughter of Julia, Caesar's sister, and senator Marcus Atius Balbinus, a relative of Gnaeus Pompey. Guy Octavius married her for a second marriage, from which Octavian’s sister, Octavia the Younger, was born (she was called the Younger in relation to her half-sister). Octavian received the nickname “Furin” in the year of his birth in honor of his father’s victory over the fugitive slaves of Spartacus, won in the vicinity of the city of Furia. Augustus tried not to use the name “Octavian”, as it reminded him that he had entered the Yuli family from the outside, and not by direct descent.
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Gaius Julius Caesar Octavian Augustus
The foundations of art were laid during the reign of Octavian Augustus. It is no coincidence that this time, characterized by a high level of cultural development, is called the “golden age” of the Roman state. It was then that the official style of Roman art was created, most clearly manifested in the numerous statues of Octavian Augustus.
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The Roman writer Suetonius (c. 70 - c. 140) noted: “He rejoiced when someone, under his piercing gaze, lowered his head, as if under the dazzling rays of the sun.”
Slide 15
The statue of Marcus Aurelius is a bronze ancient Roman statue that is located in Rome in the New Palace of the Capitoline Museums. It was created in the 160-180s.
Originally, the gilded equestrian statue of Marcus Aurelius was installed on the slope of the Capitol opposite the Roman Forum. This is the only equestrian statue that has survived from antiquity, since in the Middle Ages it was believed that it depicts St. Constantine.
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In the 12th century, the statue was moved to Piazza Lateran. In the 15th century, the Vatican librarian Platina compared the images on the coins and recognized the identity of the horseman. In 1538 it was placed on the Capitol by order of Pope Paul III. The base for the statue was made by Michelangelo. The statue is only twice life size. Marcus Aurelius is depicted wearing a soldier's cloak (over a tunic).
Under the horse's raised hoof there was formerly a sculpture of a bound barbarian.
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In the era of revaluation of values, he expressed his worldview as follows: “The time of human life is a moment, its essence is an eternal flow, sensation is vague, the structure of the whole body is perishable, the soul is unstable, fate is mysterious, glory is unreliable” (From the diary “Alone with myself")
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Septimius Bassian Caracalla (186-217) - Roman emperor from the Severan dynasty.
One of the most cruel emperors. A sharp turn of the head, swiftness of movement and tense muscles of the neck allow one to feel assertive strength, temper and furious energy. Angrily knitted eyebrows, a wrinkled forehead, a suspicious look from under the forehead, a massive chin - everything speaks of the emperor’s merciless cruelty.
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02/17/2017 20 Portrait of Caracalla Ancient Rome 211 - 217 AD e. Italy, Rome, National Roman Museum
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02/17/2017 21 Aulus Metel Ancient Rome 110 - 90 BC e. Italy, Florence, Archaeological Museum
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The bronze statue of Aulus Metellus from the Florence Museum, also executed by an Etruscan master of that time, although it still retains in the plastic interpretation of the form all the features of an Etruscan bronze portrait, is essentially already a Roman monument, full of a civic, social sound, unusual for Etruscan art. In the bust of Brutus and the statue of Aulus Metellus, as in many portraits from alabaster urns, the boundaries of the Etruscan and Roman understanding of the image came closer. Here we should look for the origins of the ancient Roman sculptural portrait, which grew not only on a Greco-Hellenistic, but primarily on an Etruscan basis.
The figure of a mature man, who leaves his right shoulder open, and wears a tunic. Wearing high Roman style shoes with laces. The head is slightly turned to the right. The hair is short, with small strands. Wrinkles on the forehead, as well as in the corners of the mouth and empty eyes, which should have been filled with inserts of another material. The right arm is raised and extended forward, with an open hand; the left hand with a half-closed hand is lowered down along the body, under the toga. On the ring finger of the left hand there is a ring with an oval frame. The left leg is slightly bent forward. Attributed to Aretina production.
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02/17/2017 24 Portrait of a “Syrian woman” Ancient Rome Around 170 Russia, St. Petersburg, Hermitage
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The expressive realistic portrait, made of marble, is an excellent example of deep and accurate psychological characterization and brilliant craftsmanship. A thin, elongated face with irregular and even ugly features is touching and attractive in its own way.
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02/17/2017 26 Antinous Ancient Rome 117 – 134 AD.
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02/17/2017 27 Young handsome Antinous is the favorite of Emperor Hadrian. During the emperor's journey along the Nile, he committed suicide by throwing himself into the Nile. The grief-stricken emperor established something like the cult of Antinous. There was even a legend that the young man, in order to distract the oracle’s formidable prediction from the emperor, sacrificed himself. This found support among the masses, as it again revived the cult of the dying and reborn god.
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02/17/2017 28 Mother with baby (“Mater-matuta”) Ancient Rome 450 BC. e. Italy, Florence. Archaeological Museum
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02/17/2017 29 The image of a seated woman with a child in her arms is the Etruscan-Latin deity of the Great Mother (“Mater-matuta”). Already in this sculpture, features of the Etruscan character appeared: squat proportions, frozen tension of the figure. The composition includes two winged sphinxes - a favorite Etruscan motif - on both sides of the throne. Being an anthropomorphic (that is, represented in the image of a person) canopic urn, the statue is associated with the cult of the dead.
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pictorial art
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Mysteries are a worship service, a set of secret religious events dedicated to deities, in which only initiates were allowed to participate. They were often theatrical performances. The Mysteries of Ancient Greece represent an original episode in the history of religions and in many respects are still mysteries. The ancients themselves attached enormous importance to the mysteries: only those initiated into them, according to Plato, are blissful after death, and according to Cicero, the mysteries taught both to live well and to die with good hopes.
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02/17/2017 32 Villa of Mysteries. Pompeii. Ancient Rome Approx. 100 BC e. Italy, Pompeii
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02/17/2017 33 Villa of Mysteries. Wall painting Ancient Rome Approx. 100 BC e. Italy, Pompeii
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02/17/2017 35 The villas are characterized by great luxury and decoration from precious materials. An integral part of the villas was wall painting. There were two types of villas: villa rustica - a rural villa of an economic or industrial nature, and villa peurbana - urban, intended for relaxation and all kinds of entertainment .