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In this assignment I shall look at; what Veristic art is; a brief history of veristic art, the materials used and the strengths and limitation of these. I shall be looking specific examples throughout roman art and the common traits in them that show a progression towards and maintenance of veristic values and the socio-cultural connotations of these. I shall look at the arguments for why verism came about, was it a political mechanism or simply a product of the ideology of the time? To further this possibility I shall look at the changes in the art form from the republican era into the imperial era to examine whether this was in fact a reflection of the social dynamic, through this means I shall also examine whether the changes were a decline or an evolution of the style fit the new social dynamic.
Verism is defined in the Collins dictionary as extreme realism in art or literature, Paul Zanker also describes it as physiognomic meaning that it is a style used to portray the human characteristics from facial features . Strong also describes verism as ‘a slice of life – a sculptured biography’ though he then says that it is a true representation which would suggest that it only shows what is visible rather than the characteristics of the individual though Strong is supported in this argument by Tanner who states that verism is a type of cartographic realism suggesting that is maps out the features of the sitter faithfully.
Verism is primarily known from the 1st century BC in Republican Rome although Tanner argues that it should be dated from the 2nd century BC though there appears to be little evidence to support this.
Most statues found in Rome from before the 1st Century BC were made from bronze and although they were realis...
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...ft with. I have looked at specific examples throughout roman art and the common traits in them that show a progression towards and maintenance of veristic values and the socio-cultural connotations of these. I have looked at the arguments for why verism came about and whether it was a political mechanism or simply a product of the ideology of the time. To elaborate on this possibility I have looked at the changes in the art form from the republican era into the imperial era and have shown that it was most likely an evolution of verism to reflect the changes in the socio-cultural dynamic than a decline in the style.
Works Cited
Strong, D., Roman Art, (1976) Chaucer Press
Tanner, J., Portraits, Power and Patronage in the Late Roman Republic, Journal of Roman Studies 90, pp.18-50
Zanker, P., The power of images in the age of Augustus, (1988) University of Michigan
In the article “Conditions of Trade,” Michael Baxandall explains that fifteenth-century Italian art is a “deposit” resulting from the commercial interaction between the artist and the purchaser, who he refers to as a client. These works, as such, are “fossils of economic life,” and money, and they play an important role in the history of art. In our current perception of the relationship between the artist and art, “painters paint what they think is best, and then look around for a buyer” . However in the past, especially during the Renaissance period, the customers determined the content and form of paintings, as it was them who commissioned the work before it was created. He states that the artists and clients were interconnected and a legal agreement was drawn up specifying subject matter, payment scheme and the quality and quantity of colors, which would influence the artist’s painting style. Baxandall not only looks at the explanation of the style of painting that reflects a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the situations between the painter and client within the commercial, religious, perceptual, and social institutions, centrally focusing on markets, materials, visual practices, and the concept of the Renaissance period, which saw art as an institution. Baxandall notes that Renaissance paintings also relate to the clients’ motives through such ways as possession, self-commemoration, civic consciousness, and self-advertisement. The author considers works of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies fiftee...
Kleiner, Fred S. A History of Roman Art. Boston, MA: Wadsworth, Cengage Learning, 2010. Print.
1. Tim Cornell, John Matthews, Atlas of the Roman World, Facts On File Inc, 1982. (pg.216)
In the essay “Naturalism and the Venetian ‘Poesia’: Grafting, Metaphor, and Embodiment in Giorgione, Titian, and the Campagnolas,” Campbell explains the role of poetic painting, poesia, in Venetian artwork during the 1500s. Titian personally used the term poesia when he “[referred] to paintings he was making for [King Philip II] with subject matter derived from the ancient poets.” Poesia now refers to a type of sixteenth century Venetian painting, which Giorgione and Titian initiated and used within their works. Campbell’s main argument is that poesia is not simply aesthetic or reflective of poetry, but rather “grounded in the process of making – and in making meaning – rather than in an aesthetics of self-sufficiency or self-referentiality.” Like poetry, it is not self-contained; meaning lies outside of the work, within the interpretations of the viewers. He discusses the idea of grafting in poetry and how the same grafting model is utilized in the visual arts. Different images, such as pagan figures and contemporary figures and settings, are juxtaposed to create visual discordance and give an intrinsic meaning to the viewer. Campbell then uses many examples of writing, poetry, engravings, and paintings to explore his argument and the connections between artists during the 1500s.
3)Gwynn, David M. The Roman Republic: A Very Short Introduction. Oxford: Oxford UP, 2012. Print.
Painted in Rome in the style of Neo-Classicism, Jacques Louis David’s Oath of the Horatii is one of the better-known examples of art produced by this artist of eclectic styles. This painting was hailed as the manifesto of a new school based on the fervent study of the antique and a return to classical techniques in the late 18th century. In this painting, completed in 1785 as an oil on canvas, David (DA-VEED) successfully coalesces the nascent and confused ideology of the Neo-Classical movement in a dramatic portrayal of the Horatii brothers swearing their allegiance to the state as their father stands with swords held high for them to grasp. An analysis of the painting’s historical background, and an evaluation of the lines, colors, and subject matter, will illustrate why Oath of the Horatii represents the defining characteristics of the Neo-Classical period.
Zanker, Paul. The power of images in the Age of Augustus. Ann Arbor: University of Michigan Press, 1988. (P. 158 ~ 159)
Wilson, R.J.A. “Roman Art and Architecture.” Oxford Illustrated History. Oxford U. Press, 1988. pp. 361-399
The discovery of Pompeii showed a rich pictorial heritage and provided insight into a previously limited knowledge of Roman aesthetic. Frescoes and paintings found in Pompeii are marked with unique characteristics. For example, “the walls of some rooms are painted with frescoes designed to give viewers the impression that they are looking out upon gardens and distant buildings” (Fiero 163). This art can be categorized into four styles. Style I was a simple and bare style of painting that sought to imitate marble veneering and mainly featured black, yellow, and red coloring. Style II was dominated by t...
Dio, Cassius. "Roman History - Book 50." 17 June 2011. University of Chicago. 31 October 2011 .
ABSTRACT: Republicanism is contrasted with liberalism with special reference to the notions of presence, absence and representation. The contrast is more conspicuous in the Platonic tradition of republicanism than it is in the Aristotelian tradition, the former being more likely to degenerate into some form of totalitarianism. Examples thereof are given in accordance with the distinction between a strong and a soft iconoclasm, as it is found both in Antiquity and in Eastern and Western Europe’s quest for absolute presence or—as in avantgarde art of modernity—for absolute self-presence of the work of art. Having left such political and artistic utopias behind it, the pendulum is now swinging back in the direction of representation, but no longer in the illusionist sense which has dominated Western art form the Renaissance to the beginning of our century. Tied to the question of iconoclasm is the debate about the end of art inaugurated by Hegel in the general introduction to his Aesthetics and resumed in our days.
The main feature of the Roman aristocratic ethos in the second century BC was the set of goals, values that the ancient Romans had and the way they achieved them. These were born out of the military and political careers of ambitious individuals and involved the gain of valued high office and much praised famous deeds. The Roman society revolved around turning the military, the politics, religio and gens to conform to the necessities of the aristocratic class. Through the works of the ancient writers/historians, Polybius, Plutarch, Livy, Apian and Cicero about the life of Scipio Aemilianus, this essay will set out to indicate the strengths and weaknesses of such value system.
In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
Roman art was also deeply influenced by the art of the Hellenistic world, which had spread to southern Italy and Sicily through the Greek colonies there. The Etruscans and Babylonians can also be seen as inspirations. “With the founding of the Republic, the term Roman art was virtually synonymous with the art of the city of Rome, which still bore the stamp of its Etruscan art” (Honour and Fleming,1999). During the last two centuries, notably that of Greece, Roman art shook off its dependence on Etruscan art. In the last two centuries before Christ, a distinctive Roman manner of building, sculpting, and painting emerged. Indeed, because of the extraordinary geographical extent of the Roman Empire and the number of diverse populations encompassed within its boundaries, “the art and architecture of the Romans was always eclectic and is characterized by varying styles attributable to differing regional tastes and the...
Additionally, the styles changed; from Rococo, which was meant to represent the aristocratic power and the “style that (…) and ignored the lower classes” (Cullen), to Neoclassicism, which had a special emphasis on the Roman civilization’s virtues, and also to Romanticism, which performs a celebration of the individual and of freedom. Obviously, also the subject matter that inspired the paintings has changed as wel...