This document provides information about Roman art and architecture. It begins with an overview of Roman culture's influence from Greek culture during the Hellenistic period. Key figures and periods of Roman history are then outlined, from the Roman Republic to the Late Roman Empire. Details are given about specific works of Roman sculpture, painting, mosaics, and architecture. Roman artistic styles and techniques are discussed, including realistic portraiture, fresco painting, concrete construction, and the innovative use of rounded arches, domes, and large civic structures for grandeur and propaganda. Overall, the document examines the development of Roman visual culture and its enduring influences.
While Greek statuary was created to represent idealized human forms of athletes and gods, Ancient Roman sculpture represented real, ordinary people with their natural beauty and imperfections. The main purpose of the statuary was to immortalize, though many Greek and Roman statues were originally painted with bright colors which over the centuries lost the pigment. Greek sculptors derived the facial features from the idealized inner and intellectual characteristics, whereas the Romans inferred the personality from the physical features. As a very representative example, I suggest observing any bust of Vespasian, Roman Emperor depicted with each feature without any glorification. When comparing the statuary of the two great civilizations we can notice another significant difference. The traditions of the Roman Republic equate the nudity represented by the Greek sculpture as a dishonorable impudicity, more in favor of an iconography that represents the republican values of the citizenship.
While Greek statuary was created to represent idealized human forms of athletes and gods, Ancient Roman sculpture represented real, ordinary people with their natural beauty and imperfections. The main purpose of the statuary was to immortalize, though many Greek and Roman statues were originally painted with bright colors which over the centuries lost the pigment. Greek sculptors derived the facial features from the idealized inner and intellectual characteristics, whereas the Romans inferred the personality from the physical features. As a very representative example, I suggest observing any bust of Vespasian, Roman Emperor depicted with each feature without any glorification. When comparing the statuary of the two great civilizations we can notice another significant difference. The traditions of the Roman Republic equate the nudity represented by the Greek sculpture as a dishonorable impudicity, more in favor of an iconography that represents the republican values of the citizenship.
It's all about Roman empire and it's history.not only it's empire but also about its art and architecture.
After studying this, you will able to solve all questions about Roman empire.
It's architecture is just wonderful.
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Slide concept by Anthony D'Ascoli
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Roman Empire at Greatest Extent
The Roman EraApril 21, 753 BCE – the legendary founding of Rome by Romulus & Remus753- 509 BCE – Roman monarchy 509 – 27 BCE – Roman Republican Period264 – 241 BCE First Punic War – Rome vs Carthage – Rome gains Sicily, Sardinia and Corsica218 – 201 BCE – Second Punic War – Hannibal invades Italy with elephants traveling through the Alps – Rome vs Carthage – Rome wins – gains southern Spain, coastal France and part of North Africa149 -146 BCE – Third Punic War – Rome vs Carthage – Rome wins – gains modern day Tunisia and names it Africa as Roman province- Carthage is destroyed
The Roman Era
88 – 79 BCE – First Roman Civil War – Marius vs Sulla – Sulla wins – implements first dictatorship without time limit73-71 BCE – Spartacus leads slave revolt – eventually crushed by Crassus60 BCE – formation of the First Triumvirate – Julius Caesar, Pompey & Crassus rule Rome illegally58 – 50 BCE – Gaul conquered by G. Julius Caesar49-46 BCE Second Roman Civil War – Caesar vs Pompey – Caesar wins – becomes dictator for life – beginning of end for Rome as a RepublicMarch 15, 44 BCE – Julius Caesar is assassinated by Senators led by Brutus and Cassius
The Roman Era43 BCE – Second Triumvirate formed by Octavian Caesar, Mark Antony and Lepidus in order to catch Caesar’s murderers31 BCE – Third Roman Civil War – Octavian vs Mark Antony & Cleopatra – Octavian wins becomes sole ruler of Roman world – Egypt becomes Roman province27 BCE – Octavian changes his name to Augustus (revered one) – Official End of Roman Republic: Rome becomes an Empire – Augustus its first Emperor27 BCE – 476 CE – Roman Imperial Period (Roman Empire)27 BCE – 68 CE – Julio-Claudian Dynasty rules in Rome (Augustus, Tiberias, Caligula, Claudius & Nero)64 CE – Great Fire in Rome – Nero blames and then persecutes Christians – Saints Peter and Paul are martyred69 – 96 CE – Flavian Dynasty rules Rome (Vespasian, Titus and Domitian)
The Roman Era
August 24, 79 CE – Mount Vesuvius erupts destroying Pompeii, Stabiae and Herculaneum96 – 180 CE – Reign of the 5 Good Emperors (Nerva, Trajan, Hadrian, Antoninus Pius & Marcus Aurelius)98 – 117 – Reign of Trajan – Roman Empire reaches its largest extent180 CE – reign of Commodus ends the Pax Romana (200 years of peace in Rome)192 – 395 Late Imperial Period – decay in art and leadership with few exceptions193 – 235 – Severan Dynasty rules Rome (Septimus Severus, Caracalla, Macrinus, Elagabalus and Alexander Severus)235-284 – Rule of the Barracks Emperors (Emperors came from army) – chaotic period of rulers284 – 305 – Reign of Diocletian – forms tetrarchy (rule of 4) to stop chaos of succession- starts Great Persecution of Christians – destroys churches and kills many people
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2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
thGAP - BAbyss in Moderno!! Transgenic Human Germline Alternatives ProjectMarc Dusseiller Dusjagr
thGAP - Transgenic Human Germline Alternatives Project, presents an evening of input lectures, discussions and a performative workshop on artistic interventions for future scenarios of human genetic and inheritable modifications.
To begin our lecturers, Marc Dusseiller aka "dusjagr" and Rodrigo Martin Iglesias, will give an overview of their transdisciplinary practices, including the history of hackteria, a global network for sharing knowledge to involve artists in hands-on and Do-It-With-Others (DIWO) working with the lifesciences, and reflections on future scenarios from the 8-bit computer games of the 80ies to current real-world endeavous of genetically modifiying the human species.
We will then follow up with discussions and hands-on experiments on working with embryos, ovums, gametes, genetic materials from code to slime, in a creative and playful workshop setup, where all paticipant can collaborate on artistic interventions into the germline of a post-human future.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
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3. Rome
Next to the Greeks, Roman culture has had the most lasting influence on
Western culture.The Roman's drew heavily on Greek culture and mythology
for their culture. In fact most Greek deities have Roman equivalents, for
instance Greece's Aphrodite was Rome'sVenus. Rome came of age during the
Hellenistic Period.The Romans were great admirers of Greek achievements
in the arts.
4. Stages of the Roman Empire
The “Republic” (509–27 B.C.E)
The Roman Empire (27 B.C.E. –283 C.E.)
27 B.C.E. The “Julio-Claudians” form the empire.
Key figure:Augustus.
69 B.C.E Roman Civil war ends in the “Flavian dynasty”
Key figure:Titus.
96- 190 C.E. “The Antoines”
Key figure:Trajan.
The Late Roman Empire (284 - 476 C.E)
313 C.E. Constantine declares religious tolerance.
Key figure: Constantine.
5. The “Republic” (509–27 B.C.E)
In less than 53 years between 200-146 BCE as a result of
wars with the remainders of the Greek empire and Carthage
the Roman Empire grew to encompass the entire
Mediterranean.
The quick rise of the empire helped buid the myth that it
was “divinely caused”. Much like the talk around early
American westward expansion,“Manifest Destiny”.
Rome experienced a long series of civil wars, political crises,
and civil disturbances that culminated with the dictatorship of
Julius Caesar and his assassination on March 15, 44 B.C.
6. And by Augustus’ death in 14 C.E. Rome controlled even more of
the Meditteranean, Egypt and the Middle East
7. Augustus of Prima Porta,
early 1st century C.E. Marble
, 6' 8" high. MuseiVaticani, Rome.
After Julius Caesar's death, the
task of reforming the Roman
state and restoring peace and
stability fell to his grandnephew,
Gaius Julius Caesar Octavianus,
who despite being only eighteen
years old, removed all
Republican opposition to his
complete control of the empire
and was granted the title of
Augustus in 27 B.C.E.
The Roman Empire (27 B.C.E. –283 C.E.)
9. The figure on the left is probably Augustus, he wears a laurel wreath
and a veil since he is portrayed as a priest.
Built to celebrate Augustus' triumphant return from the wars in Spain and
Gaul this altar to Peace was located in the Campus Martius (the Field of
War), a place where the military did exercises.
10. 1). Realistic portrayals of individuals as opposed
to idealized portrayals of generic people.
2).The Romans were great admirers of Greek
achievements in the arts and they often
duplicated Greek art.
3). Profound respect for family and ancestry,
and a principal funeral practice involved the
public display of portraits of distinguished
ancestors at the funeral of family members.
Roman Sculpture
11. Portrait bust of a man,
1st century b.c.; Republican
Roman
Marble
12. Rome came of age during the Hellenistic Period.The Romans
were great admirers of Greek achievements in the arts.They
often duplicated Greek art, as we saw in the copy in the previous
slide.
One aspect of Hellenistic art was its tendency toward realistic
portrayals of individuals as opposed to idealized portrayals of
generic people. Roman sculptors excelled in realism with
ordinary citizens.The husband in the next slide shows signs of
aging through facial wrinkles, but he is portrayed as patient and
experienced. His wife is depicted as supportive and kind.The
Roman virtues of fides (faith or fidelity) and concordia
(harmony) seem to be personified in this double bust.
Roman Sculpture
13. Double Portrait of
Gratidia M.L. Chrite
and M, Gratidius
Libanus, Late 1st
century B.C.E.
The Roman (and Stoic) virtues of fides (faith
or fidelity) and concordia (harmony) seem to
be personified in this double bust.
14. Relief portrait of the emperor LuciusVerus, ca. 166–170;Antonine
Rome
Because the Romans
considered facial
features to be the best
conveyors of personality,
age and wisdom gained
through life experience
were accentuated in
portraiture in order to
project the qualities
they valued most highly.
16. Funerary altar of Cominia
Tyche, Flavian or Trajanic, ca.
90–100 CE
Roman
Marble
The woman whose portrait dominates the
front of this funerary altar is identified by
the Latin inscription below her. It reads: "To
the spirits of the dead. Lucius Annius Festus [set
this up] for the most saintly CominiaTyche, his
most chaste and loving wife, who lived 27
years, 11 months, and 28 days, and also for
himself and for his descendants." Cominia
wears an elaborate hairstyle that reflects
the high fashion adopted by ladies of the
imperial court in the Flavian period (69–96
C.E.).The inscription, on the other hand,
emphasizes her piety and chastity, virtues
that Roman matrons were traditionally
expected to possess.
Roman Sculpture
19. This statue is a personification the Roman river Tiber. It
decorated a temple and was a companion to a similar statue
depicting the Nile. The Roman river Tiber appears here as a
traditional river-god: a reclining male figure, mature and bearded.
The oar in his left hand represents navigation, and the horn of
abundance in his right symbolizes the river's health-giving
properties. Beside the sea-god stands a she-wolf suckling Romulus
and Remus, the city's mythical twin founders. The base of the
statue is decorated with reliefs: one features animals grazing, a
second depicts navigation, and the last is concerned with the myth
of Aeneas.The work's entire iconographical program is thus
devoted to Rome, and to the riches brought by its river.
Roman Sculpture
20. Mercury Roman
Second quarter of the first century BCE
Bronze
Casting:The use of a mold
created around a life-sized model
to make replicas of statues from
molten metal, usually bronze in
antiquity.
Rome
24. 79 C.E. MountVesuvius erupts, throwing up a high-altitude
column from which ash began to fall, blanketing Pompeii and
surrounding areas, and preserving an invaluable archaeological
record.
25.
26. Built in 1968 by J. Paul
Getty of Getty Images,
theVilla is modeled on
the Villa dei Papiri, a
Roman country house
buried byVesuvius in 79
CE. First created to
house his own private
collection, the Malibu
site opened to the
public in 2006.
27.
28.
29.
30.
31. Wall painting, fromVilla of the Mysteries, Pompeii c. 50 B.C.E.
The city of Pompeii was completely buried by the eruption of Mt.
Vesuvius, which preserved Pompeii for 16 centuries. Romans were
masterful painters, and we are fortunate that this fragile art survived.
This painting depicts secret cult rituals associated with the wine god,
Dionysus.The dividing black bands provide rhythm and give a strong
design unity.
32. Roman interiors were
decorated with paintings put
directly into wet plaster,
called “buon fresco”.
Artists had to work
extremely quickly.
They marked incisions into
the plaster to draw the image
then layered on colors that
soaked into the plaster.When
the plaster dried it preserved
the painting as a part of the
wall.
Detail fromVilla of the Mysteries, Pompeii c. 50
B.C.E.
Roman Painting
33. Garden SceneVilla of Livia, Prima Porta, c. 20 B.C.E. Fresco. Museo di Palazzo, Massimo, Rome.
Roman Painting
35. Part of Western painting’s history is tied up with
architecture. It was an attempt to puncture it with an image
of the outside. Painting was seen as a window to another
world, a view outward, because it was.
36. Still life painting of peaches and water jug, Herculaneum, ca 50 C.E.
Roman Painting
37. Brawl in the Pompeii
Amphitheater
Creation Date: c.60-79 CE
38. Couple on Bed [II]
Villa della Farnesina (first)
Creation Date: c.19 BCE
40. Mosaic: An image
created by piecing
together bits of
colored stone or tile.
Allowed for durable
floor and wall
decoration.
So-called Antioch Mosaic,
second half of 2nd century;
Late Antonine
Roman
Mosaic
Rome
44. Floor Mosaic with Lion attacking an Onager.
Roman, 150 CE, Stone and glass.
45. Alexander and Darius at the Battle of Issus Mosaic From the House of the Faun in Pompeii
Pompeii
46. Portrait of a young woman, ca.A.D. 70
Encaustic on wood; 37 x 20 cm (14 5/8 x 7 7/8 in.)
Portrait of a young woman,A.D. 110–20
Encaustic on wood; 43.7 x 34 cm (17 1/4 x 13 in.)
“Fayum" Portraits
47. Fayum Portraits
Young Woman with a Gold Pectoral,
from Fayum, 100-150 C.E.
Encaustic on wood, height 12 5/8".
Musée du Louvre, Paris
Rome and Egypt
The Fayum Portraits Mix
characteristics from 3
cultures.
Greek naturalism
Roman portraiture
Egyptian afterlife /burial
48. Young Woman with a Gold Pectoral,
from Fayum, 100-150 C.E.
Encaustic on wood, height 12 5/8".
Musée du Louvre, Paris
After Alexander the Great
conquers the Nile valley,
Greek influence flows into
Egypt. Later when Rome had
assumed Greece’s place
Roman particularities had
subsumed burial rituals.
These were portraits. Death
masks.Their eternal faces,
left behind.
49. Mummy with an inserted panel portrait
of a youth, 80–100 a.d.; Roman Period
Egypt, Fayum, Hawara (Hawwara,
Hawwaret el-Maqta;Adlan), Petrie
Encaustic on limewood, linen, human
remains
These “encaustic” paintings, where
colored pigment is suspended in
molten wax, were usually done on
wood.
Hence very few survived except
those placed underground in Egypt’s
arid climate.
Fayum Portraits
50.
51. Portrait of a youth,A.D. 130–50
Encaustic on wood with gold leaf background
Portrait, perhaps of a priest, ca.A.D. 140–60
Encaustic on limewood;
52. Zeuxis and Parrhasius
“The contemporaries and rivals of Zeuxis were Timanthes,
Androcydes, Eupompus, and Parrhasius. (10.) This last, it is
said, entered into a pictorial contest with Zeuxis, who
represented some grapes, painted so naturally that the
birds flew towards the spot where the picture was
exhibited.
GREEK ART...
53. Zeuxis and Parrhasius
Zeuxis, elated with the judgment which had been passed upon his
work by the birds, haughtily demanded that the curtain should be
drawn aside to let the picture be seen.
Upon finding his mistake, with a great degree of ingenuous
candour he admitted that he had been surpassed, for that whereas
he himself had only deceived the birds, Parrhasius had deceived
him, an artist. [p. 6252]” -Pliny the Elder
Parrhasius, on the other
hand, exhibited a curtain,
drawn with such singular
truthfulness, that
54.
55. Roman Architecture
The Round Arch
Pont-du-Gard
Grandeur and Propaganda
The Pantheon: dome, rotunda, oculus, portico.
The Arch of Trajan
The Forum of Trajan: basilica, niche.
Column of Trajan
Entertainment
The Colosseum: amphitheater
The Circus Maximus
56. Deflects weight more evenly than a post and lintel system.
Requires less length in stone.
Allows for a larger spanning distance
BarrelVault Groin vault Dome
Everything with an Arch
57. Pont du Gard, near Nîmes, France, late 1st century B.C.E
Roman Aqueducts
Used to carry water
from far away to
Rome and Roman
lands.
Allowed larger
populations to inhabit
the cities than local
resources would allow.
Everything with an Arch
61. The Pantheon
120 C.E.
Roman
The stresses in a dome spread in a circle around
the dome’s perimeter, unless it is buttressed from
all sides.The Pantheon, a second century temple
dedicated to “all the gods” of Ancient Rome is
overwhelming.The dome and vault have no
visible interior supports.
Pantheon
62. Pantheon Interior
(painting)
Giovanni Paolo Panini,
The Interior of the
Pantheon, Rome, c. 1734.
The Pantheon, a
second century
temple dedicated to
“all the gods” of
Ancient Rome
specifically the seven
planetary gods.
63. The dome rests on a cylinder, or
drum.The ceiling is coffered (a
pattern of recessed rectangles that
lessens the weight) and has an
oculus at its apex.
Symbolic of the “eye of Heaven,” this opening provides
the sole but plentiful illumination for the building.
64. A new material, concrete, was poured into hollow walls of
concrete brick and faced with a stone veneer.This
technological breakthrough in material cut costs, sped
construction, and enabled the grand scale.
The portico, or porch (post-and-lintel construction,
Corinthian columns) at the entrance is intentionally drab and
uninteresting, as it is meant to obscure the rest of the temple.
Visitors are stunned when they step inside this unexpected
expanse.
Grandeur and Propaganda
67. Rotunda of the US Capitol Building
during a recent state funeral.
68. The Arch of Trajan in Beneventum
Victory Arches:
A public monument used to
commemorate victories or
public events and
symbolically consolidate
territory.
The relief sculptures
contained visual stories
from the campaign.
Triumphal parades were
organized through the arch.
Grandeur and Propaganda
70. Stages of the Roman Empire
The “Republic” (509–27 B.C.E)
The Roman Empire (27 B.C.E. –283 C.E.)
27 B.C.E. The “Julio-Claudians” form the empire.
Key figure:Augustus.
69 C.E. Roman Civil war ends in the “Flavian dynasty”
Key figure:Titus.
96- 190 C.E. “The Antoines”
Key figure:Trajan.
The Late Roman Empire (284 - 476 C.E)
313 C.E. Constantine declares religious tolerance.
Key figure: Constantine.
71. The Emperor Trajan (AD 98-117)
Circa 100 CE
Trajan was a Spanish general in the
Roman army. Adopted by an
emperor without an heir.
To prove his loyalty to Rome he
set out to build communal
gathering sites like the forum,
basilicas and ceremonial structures
like arches and narrative columns.
The Roman Empire (27 B.C.E. –283 C.E.)
96- 190 C.E. “The Antoines”
Key figure:Trajan.
72. The Forum was the heart of Roman life.
Judicial courts.
Marketplace and shops.
Temples for religious services.
Libraries.
73. forum of Augustus (3)
forum of Trajan (2)
Trajan’s Column
forum of Caesar (6)
76. As a part of the forum, the basilica, a large open plan
covered hall with twin semi-circular ends, served as a
court with the niche as the courtroom.
81. The reliefs of Trajan’s Column, illustrating two military
campaigns and winding up the shaft in a spiral band marble
three feet wide, are generally recognized to be the classic
example of the continuous method of narration in Roman art.
The episodes merge into one another without any
punctuation, apart from an occasional tree; the emperor
Trajan appears again and again in different situations, activities,
and costumes.
A statuesque figure ofVictory separates the histories of the
two wars.There are 23 spirals and about 2,500 figures.
Grandeur and Propaganda
84. The Amphitheatrum Flavium (also
called the Colosseum) was dedicated
by the Roman emperor Titus.
Amphitheater:Amphi- meaning
around, and theater coming from the
Greek Theatron is a round theater
or stadium today.
The colosseum held approximately
50,000 spectators and was built of
concrete faced with marble. Its three
stories employ the Doric, Ionic and
Corinthian orders. The arena is
floored in timber that covers dens
for games.
86. Helmet of a Thracian Gladiator
Found in the gladiators' barracks
at Pompei,
Campagna, southern Italy
The most famous shows were the
gladiators, where armed men fought
each other in violent, often mortal,
combat for fame, fortune, and even
freedom.
The gladiators would first train at a
ludus, a professional fighting school, to
prepare for the arena. Originally these
schools drew their recruits from
among the lowest ranks of society—
slaves, convicts, and prisoners of war
—but by the first century C.E.,
contracted free men, retired soldiers ,
and even, on rare occasions, women
participated in the fights.
Entertainment:The Colosseum
87. The amphitheater also provided a venue for
venationes, spectacles involving the slaughter of
animals by trained hunters called venatores or bestiarii.
Venationes were expensive to hold and so served to
advertise the wealth of the officials who sponsored
them.The inclusion of exotic species (lions, panthers,
rhinoceri, elephants, etc.) also demonstrated the vast
reach of Roman dominion.
A third type of spectacle that took place in the
amphitheater was the public execution. Condemned
criminals were slain by crucifixion, cremation, or attack
by wild beasts, and were sometimes forced to reenact
gruesome myths.
Entertainment:The Colosseum
88. The oldest games in Rome were the chariot races.The
chariots were drawn by a team of four horses (quadriga).The
races required two long tracks and two 180-degree turns.
Races were extremely dangerous, since chariots often collided
or went out of control. If a driver fell out of his chariot, he
could easily be dragged along or trampled to death by the
horses.
Entertainment: Circus Maximus
92. This restored mosaic from Lyon vividly depicts a circus race. Eight
chariots are competing, two from each faction, the quadrigae running
around the track barrier, which consists of a channel or ‘euripus' filled
with water. Here are placed the lap markers: seven dolphins, water
gushing from their mouths, and seven eggs.When each lap had been run, a
dolphin was tipped downward and an egg lowered from its bar (one can
see that four laps already have been run).At the ends of the barrier are
the turning posts (metae)on a detached plinth and, in the center, an
obelisk.
The presiding magistrates can be seen above the starting gates protected
by an awing, one holding the mappa that signaled the start of the race.
Intriguingly, the figure next to the officials operates a lever, which may
have released a latch that mechanically swung open the gates.
The white line (creta) on the left, where there has been an accident, is
the break line, at which point, says Cassiodorus (Variae, III.51), the
chariots could leave their lanes and move to an inside position, the
intention being not so much to avert crashes as to prevent them from
occurring before the race had fairly begun.A second white line, opposite
the obelisk, marks the finish, the Lyon mosaic being the only one to
depict both lines.
94. Roman Architecture
The Round Arch
Pont-du-Gard
Grandeur and Propaganda
The Pantheon: dome, rotunda, oculus, portico.
The Arch of Trajan
The Forum of Trajan: basilica, niche.
Column of Trajan
Entertainment
The Colosseum: amphitheater
The Circus Maximus
