Political figures in art has always been an important part of our history, culture and artistic representation, Roman and Byzantine art is a classic case of these representations. The Equestrian Statue of Marcus Aurelius and Justinian as World Conqueror are two examples that demonstrate the power and prestige of these political authorities. First, Equestrian Statue of Marcus Aurelius from the Roman, Italy (173-176 CE) measures 11’6” high, cast in bronze. Secondly, Justinian as World conqueror from Byzantium period measures 13” x 11” entire panel, center panel 7” x 5” and 1” deep. The creator of the equestrian statue is unknown, however, the creator of Justinian’s ivory relief was probably made by the imperial work of Constantinople. The Equestrian Statue of Marcus Aurelius and Justinian as World Conqueror both depict the power, prestige and clemency of a political figures. Yet, both are distinct in their artistic representation which I’ll discuss below.
The Equestrian Statue of Marcus Aurelius is in Greco-Roman style. It’s statue in the round; it has dominant shapes that are round and realistic. This sculpture strived to make it as realistic as possible; soft yet strong features are represented. For example, Marcus face is stern yet shows emotions
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Even though the ivory relief has a religious overtone, both are clearly done in the Old and New Rome classical esthetic. “Cast in glittering bronze, like the Equestrian Statue of Marcus Aurelius set up nearly 500 years earlier, it attests to the continuity between the art Old and New Rome, where pompous imperial images were commonly displayed at the apex of free standing columns” (Kleiner 258). Both art pieces are a classic example of power, prestige and clemency during their time of
The coin also presented four of his titles boasting even more of his power. This was Similar to Trajan where he boasted his power through a column with a statue of himself on top. Even though it was “built primarily to hold aloft a huge statue of Trajan in military dress, the column also publicizes his most famous campaign, a war fought against the Dacians.” This shows us that he had created this as a reminder to his people of his successful fight against the
The bust depicts Marcus Aurelius as the perfect rule, the “philosopher king”. He wears a cuirass (military tunic and cloak). Capitoline Brutus gives off a serious business-like expression that makes you believe it is an honorary sculpture. Bust of Marcus Aurelius displays a more standard Roman sculpture and his face has softer details. Capitoline Brutus had the characteristics of Italic and Greek sculpture styles
Justinian 1 was a great, important emperor who created lots of history. He ruled the Byzantine empire from 527-565 AD, and was born in 483 AE, Tauresium, Dardania. He later died November 14 565 AE, Constantinople, which was a pretty long life for a person long ago. When Justinian was born, his parents named him Petrus Sabbatius, but later on changed it to “Justinianus”. He was named after his uncle who later on died that same year.
In this political poster, Caesar is depicted as righteous, generous, and strong. As the centerpiece of the drawing, he is considerably larger than the other figures. Caesar is also accompanied with two soldiers from his legions, reinforcing that he is a powerful general. To his right, Caesar bestows sacks of money to a poor, elderly woman holding a baby. Although he holds great power and wealth, Caesar is portrayed as a benefactor that attempts to share his victories with the less fortunate.
“Classical Ideal” In the documentary, “Art of the Western World-The Classical Ideal”, the narrator provides a history and a perspective on the Greek and Roman creation of the “Classical Ideal” to art and architecture. The narrator infers that the foundation of the two societies, namely their democratic falsifies and religious foundations, along with their focus on fitness, personal strength, calculations and intelligence, drove Greece and later Rome, to perfect their visions of balance, symmetry and beauty in their architecture and art. Greece and Rome are often held out as the greatest societies to have ever existed.
For instance, one can view William Kentridge’s panel based on the ARch of Titus as one such example. Created in 2016, this negative grafitti artwork has several panels in a procession arc, showing different points in Rome’s history--both its victories and the more somber undercurrent that points out the regrets and laments. This is also found in the Kentridge’s portrayal of the soldiers presenting the artifacts from the Second Temple. Rather than low relief sculptures that proudly hold up several artifacts, the soldiers are hunched over, with the menorah being carried, along with several other artifacts, what the panel refers to. The figures, carved in the shadowy dirt from the walls surrounding the Tiber River, are hunched, and instead of being portrayed in a triumphal procession, seem to depicted in a way to suggest they are committing theft of cultural
The ultimate purpose of the art object until the Hellenistic period is to be a figure of human perfection and the Ideal, most commonly in the form of a ruler or a deity via body politics. Anatomy and physiology of the statue or relief is often used to further the pancultural concepts of the Ideal as opposed to the physical representation of a specific, imperfect person. The conept itself speaks volumes about the culture from which it originates, and what that culture valued most of its people and of their lives. However, as the centuries thundered by and civilizations rose and fell, there is a clear shift in the artist’s attitude towards his or her art, and the artist begins to wean away from an aesthetic realm of perfection to the portrayal of a specific
The man in the image is Trajan, a Roman emperor who ruled from 98 to 117 CE. Trajan is notable for expanding the empire to the farthest boundaries and his victory in his war Dacians, a powerful barbaric civilization in modern-day Romania. With this, Trajan was able to bring back a plethora of loot and treasures, which he used to commission a breathtaking forum. Towering over the forum was a stone column 126 feet high, crowned with a bronze statue of the conqueror. The column is also the place for the burial of his ashes.
He was given the name Augustus by the Roman senate and he used many outlets of propaganda during his reign. These outlets ranged from minor details found on construction projects, such as the symbol of fasces on the theater of Marcellus, to large monuments and works of art depicting Augustus’ various strengths a leader. One such work is a well-known Augustan monument called the Ara Pacis, or the altar of Augustan peace. The altar was dedicated to Pax, the Roman goddess of Peace, and was commissioned by the senate to honor Augustus’ return to Rome after three years abroad. The “Lupercal Panel” depicting the moment when Romulus and Remus are discovered by the Shepherd is considered to be a reminder of Augustus’ deified heritage.
There are some interesting similarities and ironies in the two monuments like the incredible architecture and engineering, power being exhibited, and it is ironic because the huge stature of Nero that turned into to Solis was once called the colossus which was in turned used as name inspiration for the
Since having two faces isn’t common, it, in combination with the hair, becomes the focal point of the sculpture. The scale of this sculpture is miniature reaching only 9.5 cm. The small size of the sculpture makes the intricacy of the sculpture all the more
In Rome, personal virtues contributed towards each individual’s dedication towards their empire. They directly gave the Roman republic the moral strength and ideology to conquer the world. In some ways, the Romans assimilated their beliefs from the Greeks, which they had conquered. In fact they had created such a lasting impression with successful ideology, that George Washington wore a toga, to demonstrate how the old Roman values still had an affect on what was then modern day America. Nearly all of George Washington's actions while leading America took into account the history of Rome.
It is the sculpture of a handsome and young ruler, namely, Augustus, sporting an ornamented cuirass and a tunic, with the figure of Cupid riding a dolphin on his side. The face reflects a youthful emperor, even though Augustus was about forty years of age when the statue was built. The Prima Porta style of facial composition comprises of, an expansive skull and slim chin, sharp-ridged eyebrows, hooked nose and a plump mouth and his hair is crowned with what is termed the Primaporta hairstyle. The breastplate is adorned with characters and is a composite of the narration of the Augustan and Tiberian propaganda, while he is barefoot. His right hand is
The bust of Commodus is one of the most famous masterpieces of Roman portraiture and depicts the emperor as the reincarnation of the hero Hercules. Commodus is seen wearing the lion 's skin over his head, holding the club in his right hand, and the golden apple of Hesperides in his left hand as a reminder of how he is seen to be as the Greek hero Hercules. Two Amazon women are kneeling on the base beside a globe with the sign of the zodiac. These zodiac signs show important moments in Commodus’s life. On top of the globe is a cornucopia with the Amazon’s shield, one long enough to almost cover his torso.
In a Roman Osteria Carl Bloch, In a Roman Osteria, 1866, Oil on Canvas, 177.5 (w) x 148.5 (h)cm (without frame), Rome. Introduction Carl Bloch’s In a Roman Osteria was completed in 1866 with Oil on Canvas. It is currently found in Rome. I decided to write about this artwork considering it is a little comical to me and very interesting considering there are a couple things that can be going on.