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Roman architecture comparative analysis
Greek and roman architecture
Greek and roman architecture
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Discovered in 1889 during the demolition of an ancient tomb along a Roman road from Capranica to Vetralla, the marble garland sarcophagus depicts in “the best style of Roman art” (American Journal 220) a scene from the myth of Theseus and Ariadne. After acquisition by the Metropolitan Museum of Art a year later, a general background concerning the artifact was established. Originating sometime in the middle second century C.E during the Hadrianic or early Antonine period of the Roman Empire, the sarcophagus medium exists in Luni and Pentellic marble and stands 31 by 85 by 28 inches (McCann 27). The adornments upon the marble are many: the lid features winged erotes on chariots led by four different animals to represent the four seasons-bear for spring, bull for fall, lion for summer, and boar for winter (Hanfmann 180)-the front displays more erotes with “seasonal garlands composed of flowers, wheat, grapes, pomegranates, and laurel (McCann 33),” and the various scenes from the myth of Theseus above the swags but below the garlands from left to right show Ariadne giving Theseus the thread to navigate through the labyrinth, Theseus in battle with the minotaur of Crete, and Theseus gazing back at Ariadne as he leaves Naxos. In addition, a comic mask and a young satyr call the right side of the sarcophagus their home.
The difference between an archaic statue such as Kroisos (fig. 5-11) and a classical statue such as Doryphoros (fig. 5-42) may not seem very great in a single glance. In fact, you may not notice any differences in that one glance. Yet, if you were to look at them closely, you can see that these two statues actually have very little in common.
The controversy began almost one hundred years ago. Between 1801 and 1812, Thomas Bruce, 7th Earl of Elgin and British Ambassador to the Ottoman Empire, removed several sculptures from the Parthenon in Athens and shipped them to England, where he sold them to the British Museum in 1816. 167 years later, Melina Mercouri, Greek Minister of Culture, requested that the “Elgin” Marbles be returned. This request sparked one of the greatest debates the art world has ever known. For the past two decades, people have argued over who has the rights to these Marbles. The Greek position is certainly understandable from a cultural and emotional point of view. However, from the standpoint of legality and logic, it is hard to make a solid case against the Marbles’ continued presence in Britain.
The Marble sarcophagus with the Triumph of Dionysos and the Seasons is a reflection of the celebration of life throughout winter, spring, summer, and fall, and the belief in the afterlife. The Triumph of Dionysos sarcophagus was purchased by the Metropolitan Museum of Art in 1955 from a bequest set up by Joseph Pulitzer. It once stood in the county seat of, Badminton House the Duke of Beaufort's. Thus this piece is known as the Badminton Sarcophagus. The sarcophagus is thirty four inches wide by eighty four inches long and thirty four inches tall. It is crafted in a deep relief form. According to the inscription in the back of the sarcophagus it was installed in the Badminton House in 1733. This sarcophagus is from the Late Imperial, Gallenic
The Romans believed in the afterlife and most scenes, for those who could afford it, was a reflection of this type of belief system. Using the Endymion sarcophagus as an example, it was made during the Mid–Imperial period during the time of Severan Dynasty, and in the early 3rd century AD. The Endymion sarcophagus is created, in lenos form, out of marble and was acquired by the Metropolitan Museum of Art through the Rogers fund 1947. Across the front of the Endymion sarcophagus we have the mythos of Endymion. Like the Badminton Sarcophagus, the facing scene depicts the conquering of death in the cycle of immortality and eternal sleep. In the middle of the sarcophagus we have Endymion, the most beautiful of men, being visited by a Selene who
Sculpture is a medium that artists in ancient Greek commonly used to express spoken truths in an unspoken form. Every piece of ancient Greek sculpture has more than what the eye sees to explain the story behind the [in this case] marble.
Ridgway, Brunilde S. Hellenistic Sculpture II: The Styles of ca. 200-100 B.C. Madison, Wisc.: The University of Wisconsin Press, 2000.
Marble statue of a kouros (youth), Greek, Attic, ca. 590-580 B.C. Fletcher Fund, 1932. Accession number: 32.11.1
The Marble Grave Stele is a horizontal piece that was embedded in a larger piece of marble. The inscriptions of the names of who died have long been lost. Thus, we must interpret for ourselves what the full meaning of the piece is. The artist of the piece is unknown, but it was constructed in Greece in around 360 B.C. during the Classical Era and stands at 171.1 centimeters in height. Its original location, as its name suggests, was at a gravesite; currently, it is located in New York City at the Metropolitan Museum of Art. The Stele was carved from marble. Overall, it is in good condition; however, the body of the woman on the left is missing with only her head surviving. Its stone frame in which it was set is also missing. This frame more than lik...
It is obvious in this photograph that this soldier is taking great pride in guarding the Tomb of the Unknown. The first thing noticed when looking at this photograph from D. Myles Cullen is the white marble sarcophagus, or stone coffin. This is located in the very center of the photograph and is an important and well-respected monument. Engraved on the sarcophagus are the words
The works of art from the Archaic Period, Classical Period, and Hellenic Period developed physically and mentally, and the study of their aesthetic differences from period to period allow for a decided contrast and comparability. This interpretation has had a profound effect on the art world and that continues even in today’s world. The importance of Greek sculptures is evident in the storytelling of the gods, the people, and the culture. We use these sculptures as a tool to go back into the past of the Greek people, letting us admire how far mankind has truly come, whether it is in art or intelligence. Generation after generation has been and will continue to be able to see for themselves the society, culture and uniqueness of these periods through the wonderful sculptures that came out of ancient
The trip to the metropolitan museum was a great trip to learn and to study art. What is art you may ask, well art is an expression you use to show a visual picture. It can be through painting or through sculptures. Some other example of art is music, literature and dancing. For today 's paper we will be talking about art as a sculpture. The two sculptures in this photo are King Sahure and a Nome God and Marble Statue of Dionysos leaning on archaistic female figure (Hope Dionysos). You can find these statues in the Metropolitan Museum of Art. King Sahure and a Nome God is an Egyptian art that was made in 2458-2446 BCE. The artist is unknown. It was during the 5th dynasty and it also belong to the old kingdom. The Marble statue of Dionysos Leaning in the archaistic female figure is a Greco-Roman art. Belonging to the Roman imperial period of the late first century A.D. Augustan or Julio-Claudian period 27 B.C., to 68 AD. It is classified as a stone sculpture and it is made out of marble. The height of the statues is 82 ¾ inches. There is no evidence who was the original artist.
The whole structure also consists of two porches, the north porch at the northwest corner is supported by six tall Ionic columns, stands at a lower level and gives access to the western cella, while below its floor it was believed to be the spot where Zeus killed the legendary King Erechteus with a thunderbolt. (theacropolismuseum.gr) In the south-west corner, there stands a uniquely projecting porch which is the most well-known part of the Erechtheion. It is supported by six massive female statues, and hence named the Porch of the Maidens, with the supporting figures known as caryatids. Below it stood the grave of Kekrops, another legendary King of Athens. (theacropolismuseum.gr) The se...
An analysis of Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, reveals that there are many similarities, but also many differences between these two pieces of sculpture. These similarities and differences are found in the subject, style, and function of both works of art.
The “Equestrian Statue of Marcus Aurelius” was one of the lucky bronze pieces from Ancient Rome. It was lucky because the Ancient Romans often melted their bronze creations to make new ones. While this helped supply artists with material for new statues, the melting of statues has left modern cultures without knowledge of possibly hundreds of Ancient Rome’s finest pieces. Thankfully this statue survived is now at the Museo Capitolino in Rome, where it is an inside exhibit to keep safe from the harsh elements and pollution.
Honour, Hugh, and John Fleming. "Hellenistic and Roman Art." A World History of Art. London: Laurence King, 1999. 179-213. Print.