Augustus Caesar, Emperor Constantine, and Pericles were all significant leaders and each of their cultures were very influential. Augustus Caesar led Rome’s transformation from republic to empire, and served as its first emperor until his death. Emperor Constantine on the other hand served as a Roman army officer, as well as emperor of Rome from 306 to 337 CE, generally understood as the first Christian Emperor of the Roman world. Pericles, was a prominent Greek statesman, orator, and general of Athens during the Golden Age. All were indeed significant leaders that lived through very important time periods. But once they were all deceased and united in the afterlife, the big question of whose time period or culture had a greater influence …show more content…
The ancient Roman Culture created art that was set on cultural value, religious beliefs, as well as technological achievements. He stated, “Roman art is art that brings diverse elements together to produce something entirely new, with a powerful message-bearing potential, which led to Rome’s extraordinary successful expansion.” Roman did not believe, as we do today, that to have a copy of an artwork was any less that to have the original. It is also true that many Romans duplicated versions of famous Greek works from earlier centuries; this is why we often have marble versions of lost Greek Bronzes such as the Doryphoros by Polykleitos. An example Caesar used was Augustus of Primaporta from the Imperial Roman time period. This life sized marble sculpture-in-the-round was possibly a Roman copy of a statue from the Greeks. Everything from the chiastic stance, augustus hair, to the smooth features of Augustus face, are so reminiscent of polykleitos Doryphoros, making everyone to even scholars believe Augustus turned deliberately to this well known image. By associating Augustus with historical or divine figures such as Cupid , or Eros, the son of Venus, it projected an image of earthly and divinely commanded power, and by that, elevating the emperor above other politicians. The Augustus of Primaporta offers a good example of the tendency in Roman …show more content…
The Greek culture was obviously the most influential out of us three and it will always be.” He then addressed the crowd and started off by mentioning Greek architecture. The Parthenon is the most important symbol of Greece’s cultural image. The temple was created to worship the Greek goddess Athena, which establishes their religious beliefs at the time. Pericles looked at Augustus Caesar and said ,“It’s stylistic conventions have become the standard of Classical architecture, and its style has influenced architecture for many centuries after it was built, including the Pantheon.” Numerous modern day buildings have adapted a Classical style. Even today, the Greeks look back at the building as a unique symbol of Greek cultural power. When Pericles got onto the topic of art from his culture, he mentioned that “most Roman art wouldn’t even exist for the simple fact that most were copies of sculptures from my period.” Romans commissioned versions of famous Greek works from earlier centuries. For example, the famous Doryphoros (Spear Bearer) is actually a Roman copy of a lost Greek bronze. Polykleitos, the artist who created Doryphoros, was in search for an ideal system of proportions rooted in a philosophical quest for illumination and believed that harmony in the universe could be expressed in mathematical terms. In general, Greek art like this tended to focus on near perfect proportions and balanced
Augustus did this and Gudea rebuilt many temples. The pieces differ because of their historical context. In Roman art, propaganda was huge. The Augustus of Primaporta serves as a reminder and justification of some of the things Augustus did as a ruler, all the while incorporating the religious and peaceful themes that were so used by Roman artists. The work communicated Augustus’s connection to the past, to the military, and to the gods in a propagandistic way.
Imagine a general of immense wealth, integrity, and great perverseness. This description fits a certain person well: Pericles. Pericles was a brave man, and he did things to the best of his abilities. He was born a wealthy child, and of course used this to his advantage. He honestly thought that he could have a big impact on the city of Athens and maybe even the entire world. He have thought this way because, “His father Xanthippus had himself been a military commander for Athens at the battle of Mycale in 479 B.C. Pericles name in Greek means 'Surrounded by Glory' and as is evident that was certainly to come true for Pericles was he became an influential statesman for Athens during The Peloponnesian War until his death in 429B.C.” (Rodney) From this, people assume that Pericles was a commander at heart and a fantastic man in general. Pericles was a great man because he was a risk-taker, a leader, and possessed extreme intelligence in battle. These are all incredible attributes to being an marvelous person and Pericles definitely fit all of them, making him a prodigious general to have in a city.
Hellenistic art, let alone architecture, was a period of dramatic transformations that deterred greatly from the Greek Classical period. While the Classical Greek concepts were not entirely abandoned, the Hellenistic period expanded the formal horizons with dramatic posing, sweeping lines, and high contrast of light, shadow and emotion, something greatly different from the Classical artists ideas. The conventions and rules of the Classical period gave way to experimentation and a sense of freedom that allowed the artists of the Hellenistic period to explore their subjects from unique points of view that they had not previously done. The Altar to Zeus in Pergamon is the perfect representation of the Hellenistic period. Pergamon contained the Altar to Zeus in the same way that the Athenian Acropolis contained the Parthenon and is considered by the Greek art historian Gisela Richter to be “the most famous altar of Hellenistic times” (Handbook 32). The Altar of Pergamon is uniquely suited as an ideal example of 2nd century Greek culture that is tied to the ideals of the people, and shows off Hellenistic characteristics that define the time just as the Parthenon is a staple in the Classical period. [Stokstad]
Both figures have their chest open and have their head directed to the right side. Augustus’ posture resembles that of the Classical Greek sculpture: Doryphoros, sculpted by Doryphoros in 5 B.C. It shows the two forms directing their body as well as their head to the right, forming an elegant S-shape called the contrapposto. The Age of Pericles also referred to as the Golden Age of Athens occurred at the same time as when Doryphoros was sculpted. It was a period where the city flourished and transformed under the authority of general and orator, Pericles. Their similarity in form indicates their corresponding achievements and mannerisms during their ruling, they are both powerful, influential and successful in their roles. The leaders share akin qualities and to have the same stature as the Greeks provided the Romans hope for civilisation, just like the Age of Pericles. The stance of Augustus of Prima Porta helped especially the people who did not see Augustus in real life trust him, along with his power lead Rome into the same prosperity.
To recall another relic of ancient Greece, Plato had strong opinions on artwork, even that which was created during his time. Plato believed tha...
The Parthenon was built to honor the goddess of wisdom, Athena. When structures are built using straight lines they tend to look slightly distorted due to the science of optics. The architects Iktos and Kallikretes were skilled architects of their time and they used illusory tactics to create an ideal aesthetic for The Parthenon. The architects compensated for these visual illusions by counteracting them in their design. The end result is a structure that is not composed of straight lines, but when viewed by the human eye, looks perfectly straight. Plato would have mentioned one of his famous dictums, ?That which changes least is most real.? He would have viewed Iktos and Kallikretes designs as less real than other designs that do not u...
He discusses that Roman statues appear greatly similar to those of Ancient Greece, both in material and in style. The statues both from Greece and Roman Republic were made from slabs of marble and bronze. In both cultures, portraits were used as expressions of honor to both the living and the dead. They were often used in funerary spaces and sanctuaries. Stewart supports the same principle that the other critics have stated, that portraits and statues were used primarily by the wealthy and elite members of the republic. They decorated the public spaces of the people, as a reminder of leadership within the community and as a way to honor the authority’s power. Imperial portraits were used as a symbol of devotion and established the presence of a powerful empire, bringing the devotion towards the emperor
The Greeks believed the deities provided the city protection and allowed them to be successful in their endeavors while in time of war. Phidias, a master bronze worker, was commissioned to create the sculpture of Athena Parthenos, the goddess of wisdom to show tribute to the gods by creating a large scale sculpture in Acropolis. The Acropolis was the most important site in the city of Athens, and was well recognized as the hilltop of protection. It is also the most significant reference point of ancient Greek culture as well as the symbol of the city of Athens. Some of the greatest architectural masterpieces of the period were erected on its ground.
It was shock to see how much of the Roman art originated in Greece, but was borrowed and adapted. The entertainment was very violent, but it still seemed interesting after that. Overall, the art and entertainment were great highlights of the Roman
The sculpture is a Roman copy of the original Greek bronze made by artist Polykleitos in 450BC. It is recorded that he made the Doryphoros as an example of perfect proportion. He wrote a book to accompany the statue called, "The Cannon of Proportion, " and countless artists copied the statue because of its perfection. This regal figure was named Doryphoros (Greek for "spearbearer") because it originally held a long spear in its left hand.
The Romans have adopted many features from the Greek style of art and architecture during the third and second centuries B.C. During that time period the Romans discovered that they have taking a liking to Greek statues, which they placed in many different places. The Roman sculptors then decided to also start making statues alongside the Greeks. The statues that the Romans created were realistic looking with, sometime, unpleasant details of the body. The Greeks made statues with, what they thought of, ideal appearances in the statues figure. Sculpture was possibly considered the highest form of art by the Romans, but figure painting was very high considered as well. Very little of Roman painting has survived the tests of time.
In summary, the Greeks followed the ideals of humanism, idealism, and rationalism, which can be found in the architectural wonder, the Parthenon. In this building, Gods are depicted in human form, sculptures are carved with ideal proportions, and rationalism can be found in the scenes carved there. Professor Hurwit says, “It was the physical embodiment of their values, their beliefs of their ideology. It remains for us a powerful statement of what human beings are capable of” (Beckham). Not only is the Parthenon an architectural wonder and mystery, but it also holds the beliefs and feelings of the people of Athens.
Here, we will be looking at a rendition of the high marble statue of Augustus Caesar known as “Augustus of Prima Porta.” Originating from 1st Century A.D., it is said that there is a possibility that the original sculpture could have been of greek descent. Upon a general overview of the sculpture, one can see that Augustus fulfils a millitarial role of some kind. From his very stance to the garments portrayed on him, Augustus is draped in a decorative cuirass and a tunic, accompanied by a figure of Cupid clutching on to his right calf. After taking the general themes of the work into account, one can then began to start unraveling the many symbolic elements embedded into the sculpture that allude to godly themes. Starting from the crown of his head, the very chiselment and structure of his face gives the work a youthful element to it, even though some say that Augustus was around 40 years old. A recurring theme within Greek and Roman culture is the matter of godliness and immortality amongst idolized figures themselves. This idea is usually depicted by displaying powerful human being in a younger light. This
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...
Even the few sculptor’s names known to us, usually by chance, from the imperial period are Greek names and seem to confirm the assumption that these artists’ work should be regarded simply as a late phase of Greek art” (Hanfmann, 12). The Greeks were the first western culture to figure out how to accurately depict the human form which they did through the use of geometric ratios. It is also widely accepted that it was even Greek artists who first made marble portraits for the Romans as the Romans originally had no skill with the stone. “It was certainly at first Greek artists who were entrusted by eminent Romans with the execution of portraits of themselves and of important personalities in the Roman state, just as it was Greeks who depicted Aemilius Paulus victory at Pydna and later were largely responsible for the portraits of the emperors” (Kahler 16). The Romans mainly used terracotta for their sculptures and it was only when Augustus reigned that the marble quarries at Carrara were opened and marble was used on a large scale. The Romans inherited the use of realistic proportions, the sense of movement (contrapposto), and the overall beauty of Greek sculptures. A great example of Roman sculpture that was clearly carved by a Greek artist who was familiar with the Hellenistic styles of Greece, is the Relief of the Wedding of Amphitrite and Neptune. It “shows a mythological