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Ancient roman mural paintings four styles
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Within room 5 of the Villa of Mysteries, in Pompeii, Italy, expansive paintings cover the walls. Created by an unknown artist circa 50 BCE, the murals are part of a tradition of domestic fresco wall painting that was prevalent during the Roman Empire. Looking closely at the second wall of this mural, there are life sized half naked human and mythological characters interacting with one another while occupying a monumental platform built of rock and marble, surrounded by vivid red. The wall mural captivates, transporting the viewer to another realm, a place of architectural beauty and intoxicating colors, a place filled with skin and sensual delights.
Bare-chested males, togas barely covering their nakedness, satyrs and humans, some intoxicated,
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and females, adorned with clinging garments, or bare chested, one winged and holding a whip aloft, all golden toned and glowing. They reside upon an immense green and gold rock platform with vertical, narrow alcoves in the wall behind them, a wide decorative frieze above, and a vivid red textured wall binding them all together in a feast for the eyes. Some of the figures interact with scenes on adjacent walls, some sit on stone thrones, some kneel. Faces have character and portray emotion; figures interact, overlap, recline, and stand. Golden tones repeat throughout the painting, as highlights on figures and architectural details.
Golden draperies contrast against dark fabrics and shadows, brownish reds, medium greens, and vivid red walls. Modeling is apparent in the figures, subtle tonal gradations and sharp shadows that provide form in the draperies, form to the legs, bellies, hips, arms, bosoms, wings. Tonal gradations provide a sense of smooth skin, soft fabric and body shapes. The figures are huge, life-sized and their presence fills the room. Some stand, some sit, one women kneels, her garments clinging tightly to every curve as she reaches forward, about to lift a fold of fabric that covers a tall object, while in the center of the painting, another woman holds an intoxicated male in her lap. The male leans far to the right, his diagonal pose emphasizing his role in the painting. His garment has fallen off, revealing most of his naked body. He is lean and fit, with golden highlights shining upon his bare belly, and leaning against his bare, golden leg is a large staff, creating another diagonal …show more content…
line. On the far right, the raised arm of the winged female emphasizes her naked breast and her whip, her body poised for the down strike upon the figure on the next wall. On the left, a group of three satyrs interact, the frontal character, obese, staring intently at a figure from the previous wall, his upper body naked, his leg outlined beneath his clinging garment. Behind him stand two youthful satyrs, one staring intently into a bold, the other holding his hand gripping a demonic mask, held aloft in one of the vertical alcoves. Strong, monumental architectural features give the painting weight and settle the painting firmly in the room, providing the illusion of a rock platform that rises above and beyond the floor and visually extends the space beyond the confines of the actual room.
Horizontal bands of dark green marble provide a solid contrast to the band of golden stones that form the center of the huge platform. Above and below are additional horizontal expanses of rock in lighter greens, and rich burgundies. Decorative features provide a sense dimensionality, as if the bands were carved from rock. Rising vertically from the platform are three dark alcoves, surrounded by green marble. Above looms a large frieze with three decorative, horizontal bands. The lowest contains repeating golden geometric patterns, with reddish shadows that provides a sense of carved plaster. Next is a band of colored rectangles, cut and polished stonework, agates and geodes. The topmost band is very dark, highlighted with swirling, colorful floral patterns, and trimmed with gold. And, between decorative frieze and solid stone platform, the walls are red, trimmed with
gold.
Sebastian Pether’s piece of work called The Eruption of Vesuvius (1835) combines the silver watery reflection of the moon with the hot red molten lava that is flowing down its mountainsides. Though during Pether’s generation he wasn’t the only one to paint the well-known Mount Vesuvius, Joseph Wright of Derby also painted 30 paintings of the volcano. This art piece is currently located at the Nelson-Atkins Museum of Art. The piece is oil media on panel that is framed with a beautifully designed border, where it is hanging on a wall in the one of the rooms, with a one-dimension view. The quality of the piece owes itself to the color and lighting, which captures your immediate attention and guides the viewer through the piece.
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
painting even though the event represented in the painting took place long before the Roman Empire. The center temple that occupies the background has a vanishing point running through its doorway and if it weren’t for this illusionistic technique, the painting would be very two-dimensional.
First, the size of the painting drew me in before all. It measures at 339.1 by 199.5 cm, surrounded by a large golden frame. The size alone is enough to bring in any person passing by. Once getting close, the really wonder happened. The story told by the painting
A monumental staircase is the centerpiece of entrance hall and creates a barrier to a direct view of the courtyard. The stairway, although grandiose, is modeled after oversized wooden stairs with a “wealth of spindles and paneling from his earlier Shingle style houses.” The oversized arched windows on the wall facing Exeter Street, bring sunlight into this space, and have a radiant effect on the walls covered with variegated Sienna marble (especially quarried for the library). At the intermediate landing, there are two hand carved couchant lions, which are the work of Louis Saint-Gaudens. Above this stairway a spherical chandelier of bronze and cut glass hangs from the richly coffered ceiling. As you climb up the stairs towards the main landing, the paintings of Puvis De Chavannes representing poetry, philosophy, and science adorn the wall. These murals are painted
The use of art forms and sculpture as a means of conveying a message to its viewers has been rooted deep into culture throughout human history. Imagery has carved political views and depictions of society’s circumstances into permanent marks of antiquity. From the Ancient Roman architecture and sculpture to the 1900’s emergence of media in politics, we have continued to express our views, hardships, and culture in permanent ways, and use art as an intricate form of manipulation and persuasion. In the ancient times, the Romans used sculpture to portray individuals of power, such as Augustus, to mark a political ideology by making powerful figures look more pristine and perfect on a godly level. They would portray the unattainable perfection
Pompeii is possibly the best-documented catastrophe in Antiquity. Because of it, we know now how the Pompeians lived because they left behind an extensive legacy of art, including monuments, sculptures and paintings. Pompeii lay on a plateau of ancient lava near the Bay of Naples in western Italy in a region called Campania, less than 1.6 kilometers from the foot of Mount Vesuvius. With the coast to the west and the Apennine Mountains to the East, Campania is a fertile plain, traversed by two major rivers and rich soil. However, in the early days, it was not a remarkable city. Scholars have not been able to identify Pompeii’s original inhabitants. The first people to settle in this region were probably prehistoric hunters and fishers. By at least the eight century B.C., a group of Italic people known as the Oscans occupied the region; they most likely established Pompeii, although the exact date of its origin is unknown. “The root of the word Pompeii would appear to be the Oscan word for the number five, pompe, which suggests that either the community consisted of five hamlets or, perhaps, was settled by a family group (gens Pompeia)”(Kraus 7). In the course of the eight century B.C., Greek and Etruscan colonization stimulated the development of Pompeii as a city around the area of the Forum. A point for important trade routes, it became a place for trading towards the inland. Up until the middle of the 5th century B.C., the city was dominated politically by the Etruscans.
...the colosseum. Built between 72-80 b.c., this remarkable Roman building is concrete with arches and groin vaulting. An oval form with levels created by rings, there is a labyrinth of rooms on the ground floor. The level above the rooms is the arena, which has a base of sand. The suns would strike different parts of the bleachers at different time of the day, and the awnings could be moved to create shaded areas. The exterior of the building has 76 doors that enter the groin vaulted rings, which creates a sense of openness. The exterior arches are a structural mechanism. The post and lintel system is for decorative purposes. All levels have engaged columns to create variety and rhythm to the outside view. Each level is unique; bottom level is of the doric order, next level is ionic, third level is corinthian, and top level is balastered.
Peter Paul Rubens’ masterpiece, Venus and Adonis, is not only a significant artwork of the baroque-period in Europe during the 17th century, but it also tells the mythological story that begins with love, and ends in tragedy. Displayed in the Metropolitan Museum of Art, this painting is admired for representing the unique baroque-style of this era, as well as Rubens’ particular use of the medium and how it reaches those who are viewing it. His attention to detail and crafty use of symbolism within the painting assist viewers in deciphering the story, along with the values of the time period in which Rubens was living. In studying the composition of the work and noting the historical context from which it came, one can ultimately understand Rubens’ point-of-view and thus, connect to the painting in a way he or she has never imagined.
As visitors approach one of the most beautiful inns in North Carolina they will be serenaded by the rhythmic thumping of the tires as they cross each cobblestone. The inn is like a massive wall of rocks that looks to be touching the blue sky. The red tile roof looks like a red cloud sitting atop this castle of rocks. These rocks were placed over one hundred years ago and still stand in their exact spot. From the parking area you can almost imagine the horse drawn wagons that had worked so hard to pull these massive boulders up to this very spot. You can see all the hard work that had went into clearing this mountain side for the inn to begin construction in the year 1912. If you listen very close you can just hear its history calling out to you.
My report is on ancient Greek art mainly sculptures and vase art I will also
Pompeii was once a large and promising city that one day became uninhabitable due to the eruption of Mount Vesuvius.
The two tomb projects are; The Julius Tomb and The Medici Tombs. The Julius Tomb was commissioned by Pope Julius II in 1505, from drawings made by Michelangelo Pope Julius selected a huge three level monument with over 40 statues. The project was to be completed in five years and Michelangelo was to be paid 10,000 ducats. The Tomb was to be placed in the unfinished Quattrocento choir of St. Peter’s. However Julius decided to build a new church and lost interest in the Tomb project, perhaps because of lack of money.
From studying multiple artifacts from the 15th century in Italy, there have been significant acronyms within Northern Europe, and Italy bases off different altarpieces that have a gland into solving the puzzle pieces from various paintings that are linked with spiritual attributes in Christianity. In northern Europe, we come to see the paintings within the altarpiece are more eccentric than Italy, and have high quality in the 3D dimensional aspect so the viewer can visualize themselves as part of the painting itself.
“Volcanoes. Call them Alpha and Omega. The beginning and the end” (Pellegrino 3). Volcanoes have been found, studied, and erupting forever. Volcanoes are a well-known piece of nature, but have you ever been in a volcanic eruption before? The conditions are horrible, the sky is black, and the city goes dark, and you can’t see the sun any more. You can barely breathe, and the volcano emits an avalanche of ash the size of a tsunami. What would someone do in that situation? Likewise, the city of Pompeii had an eruption, and no one knew what to do because no one had seen anything like that in their time period before. Imagine a person in that situation, knowing not what to do, and just running for their lives, but could not find a place to hide, or any place to find and to take shelter at. That same eruption is the one that radically changed the city many centuries ago. Pompeii, the small city next to the great mountain Vesuvius, was about to be changed forever, which later made it considered to many people “The city frozen in time” because of how it was preserved by the ash of the ground. The tragic eruption of Pompeii has changed the way people look at nature, especially in the form of volcanoes and natural disasters. Pompeii left a great fingerprint on human culture because of its well-known mountain, its eruption, and its astounding burial and preservation.