Augustus as Pontifex (Via Labiana)

100AD

 - idealizing Hellenistic style of representation, contrasts with Republican realism

- highlights Augustus's role as spiritual as well as political leader (toga, ritual objects in hands)

 - "Prima Porta" portrait type: small mouth, triangular head, crab claw motif, idealized (he was in his 50s), contrapposto

 - Quintillian beauty ideals, moral & ethical values of artistic styles (classical = suitable for rulers because it expressed balance)

Togatus Barberini

reference to portrait culture of patrician class in Rome, death masks, portraiture as status symbol

 - stern expressions

 - Roman republican portraiture

 - values purity of Roman culture over Hellenistic contamination

 - emphasis on skin, bone structure, wrinkles, baldness, age

 - examples-

Torlonia Head

Citizen Type

Derived from the style of hellenistic elite - contained realism, not idealized like rulers, shows some wrinkles, not as dry as veristic, still fleshy

Ruler Type

Derived from Hellenistic kings' portraits (Alexander the great, eg)

Idealized face, displaying emotion

iconographic detail in the hair (busy, messy, spike in front)

idealization, contained emotion

important during Augustus

- Roots in local traditions & artisans

 - produced further from urban production centers

 - geometrical element, head constructed of rigid planes

 - features show likeness

EXAMPLES: "Brutus" from Capitoline museum

Pompey the Great

mid 1st cent BC

- Hellenistic Portrait, ruler type (hair, fleshy face)

 - eyes are personalized, so citizen type referenced

 - Pompey's military success in the Hellenistic world informs its influence in his portrait

"Torlonia Head"

Veristic portrait, emphasis on skin and bones, stern expression, Roman Republican resistance of contamination of Hellenistic style

General from Tivoli

-Early to mid 1st cent BC

 - Citizen Style

 - head is hellenistic, citizen type (fleshy face, slightly open mouth)

 - body is classical

 - longing eyes, individual features, wrinkles, some realism

"Hellenistic" prince

- Late 2nd cent BC

 - Republican bronze statue portrait

 - found in baths of Constantine

 - proportions of Hercules Farnese (built body, small head)

 - Hellenistic elements: turned body, thick locks, bushy hair, mouth open

 - Roman because more individualist (hook nose, mouth and brow)

 - evidence of hellenistic influence on Rome by commisioned sculpture in hellenistic style

"Brutus"

- 3rd C BC

 - because he's the first counsel of the Republic of Rome, he's associated with wisdom, style reflects this

 - Medio-Italic geometric head, specific features, local materials, minimal hellenistic influence evident

1) Octium/Octavian Type

Before he's called Augustus, so before 31BC, Hellenistic

2) Main Type/ Primaporta type

Classically influenced, like Augustus Prima Porta

3) Forbes Type

17BC onwar

Portrait of Livia, wife of Augustus

1st cent AD (?)

- Julio-Claudian imperial hairstyle (flip in front)

 - Puffy face, bulging eyes

Daughter of Niobe

- 5th cent Greek statue

 - drapery, although natural, stays on the surface, contrasts with Roman virtuoso carving of drapery with intense depth and realism

The Boxer

330BC Greek Sculpture

 - expectant, dramatic, cauliflour ear

 - depicts an everyday moment - very Hellenistic subject matter

 - toes are worn, maybe rubbed for good luck

Crouching Venus

300BC by Doidalsas (sp?)

 - Copies preserved from Hadrian's villa in Tivoli

 - measuring point on stomach

 - perhaps a cupid was present, not sure if it was in the original Greek design

 - copy of the hellenistic design

The girl from Anzio

- Hellenistic turn of body, representation of daily ritual

 - she's a priestess at a temple

Discobolo (Myron)

copy of 3rd cent BC sculpture

 - Given from Mussolini to Hitler, came to symbolize purity of the Arian race

Hermaphrodite

 - Hellenistic element of surprise in assumptions about the sculpture

Portonaccio Sarcophagus

Late 2nd cent AD

-Battle sarcophagus, made in Rome

 - high relief on front side, lower relief on sides, no carving on back

 - box & lid, framed by symmetrical imagery on corners

 - shows battles between Rome and germanic tribes

 - end of 2nd cent sees rise in drill use

 - departure from Classical, less detail, not idealized, simpler, poses are energetic, reactionary

 - Complex groups, faces with emotion, stylistically relevant to column of Marcus Aurelius

Wall painting from Villa of Livia at Primaporta

1st cent BC

- idealized garden, illusion of 3D space, increased awareness of landscape, presence of man excluded shows Hellenistic influence

Altar of Zeus at Pergamon

late 3rd c BC

-center of Hellenistic baroque

 - deep battle relief between giants & gods for Mt Olympus

 - example for Hellenistic baroque

 - poses from victory monument reference dying Gaul of 50BC

Scylla group

- 3 artists names on rudder, same as Laocoon group

 - From Villa of Tiberius at Sperlonga

Domitian

late 1st cent AD

Trajan

early 2nd cent AD

- last imperial portrait without a beard until Caracalla

 - heroic nudity

 - paludamentum (cloak strap) and sword

Hadrian

Early 2nd cent AD

- smooth face, short beard, hair with classical locks radiating from center of scull to forehead

- no use of drill in curls yet

- favors classical style

 - carved eye detail begins at the end of his reign

Antoninus Pius

Mid 2nd century AD

- longer beard than Hadrian

 - carved eyeballs

 - use of drill increases volume of hair

 - "teeth" design in the hair on the forehead

Marcus Aurelius

late 2nd cent AD

- connects himself to Greek philosophers through longer beard, long face

 - increasing size of bust now includes upper torso

 - vertical strings of curls in the beard

 - low hanging eyelids

Commodus as Hercules

late 2nd century AD

- shorter beard than Marcus Aurelius, bulging eyes

 - major use of drill

 - smaller locks of hair than M.A.

 - Damnatio memoriae removed lots of his portraits from existence

Septimius Severus

Early 3rd cent AD

- 4 curls on the forehead = "serrapis" type, reference to Egypt

 - references Marcus Aurelius in his early portrait types to reference enlightenment

Julia Domna

early 3rd cent AD

Caracalla

early 3rd c AD

- model for the rest of the 3rd century AD

 -abrupt break in portraiture traditions from his father, Severus

 - strong emotional element

 - contracted muscles in forehead, turned neck, open, tense mouth

 - intimidating

 - short hair, short beard

Trebonianus Gallus, soldier emperor

mid 3rd c AD

Trebonianus Gallus, soldier emperor

mid 3rd c AD

- shows age, weariness, "unhappy" begets military instability

Tetrarch portrait

late 3rd, early 4th cent AD

- extremely abstracted

 - red porphyry (hard marble, difficult to carve)

 - concept more important than realism

 - orb in hand, crown on head, broach on garment signified the emperors of late antiquity

 - unity conveyed by hugging figures, hand on sheathed sword

Constantine

Early 4th C AD

- no examples of original constantinian portraiture - all seem to be carved from another portrait (sign of canceling out previous emperors? or identifying with them)

 - large eyes, long nose, specific hair shape, abstracted

Adventus, Arch of Marcus Aurelius

Mid 2nd cent AD

Triumphal Procession, Arch for Marcus Aurelius, mid 2nd cent AD. 

Commodus was in front of the chariot, but damnatio memoriae cut him out and made for weird perspective on the temple

Sacrifice, Arch for Marcus Aurelius

Mid 2nd Cent AD

Capitoline temple in background

Relief from the Arco di Portogallo

Apotheosis of Sabina (Hadrian's wife)

mid 2nd cent AD

Floor, Horti Lamiani

- Private art, late republican age onward

 - alabaster, africano, pavonazzetto

Statue of the satyr Marsyas from the Gardens of Maecenas (Horti di Mecenate)

Roman copy of a Greek 4th cent sculpture

Faustina Mayor, wife of Antoninus Pius

Mid 2nd cent AD

puffy face, braid up the back, in a cylinder on top of the head

Esquiline Venus, Horti Lamiani

1st cent BC

eclectic statue because hellenistic body with classical head, snake at foot references egypt (aphrodite/isis)

Guilded Hercules

2nd century BC

- Hellenistic proportions of 4th c BC, Lysippic

Equestrian statue of Marcus Aurelius

late 2nd cent AD

Spinario

1st cent BC

- eclectic statue, hellenistic spiral axis and daily life scene but classical face

Capitoline she-wolf

- 5th cent BC (Etruscan) OR Medieval

Young Centaur

mid 2nd cent AD

- Found in Hadrian's villa t Tivoli, with 2 others.  Representing the joy and pain of love = Hellenistic influence

 - bigio morato marble and rosso antico

Capitoline Venus

copy of a 4th century original

original made by Praxiteles

Venus prudicae (variation on Cnidian aphrodite)

detail on front and back shows excellent craftsmanship

Gallienus

soldier emperor, mid 3rd cent AD

return of volume to beard and hair, idealized face - Gallienic renaissance

Dying Gaul

copy of a late 3rd C BC Pergamene sculpture

Hair pulled back because gauls used white clay to pull their hair back like lions

wears a tourques (necklace)

pose references a scene from the Temple of Zeus at Pergamum

Hellenistic Baroque

Head of Constantine

4th cent AD, recarved from 2nd cent AD Hadrian portrait

- Found in Basilica of Maxentius, rest of body in another material

 - kneecap suggests he was seated

 - looking away over you (distance)

Arch of Titus

late 1st cent AD

built by Domitian

reliefs of Triumphal processions

greek style, roman contents

use of allegorical figures = immortalization of the emperor

apotheosis scene in vault

Column of Trajan

Early 2nd c AD

Commemorates Trajan's victories in the Dacian Wars

Located in Trajan's forum with libraries on either side.

his tomb is at the base (unlike column of M.A.)

many figures have holes in hands for metal weapons

Arch of Septimius Severus

(in the Roman forum)

early 3rd cent AD

- only preserved triple arch in Roman forum

 - stocky figures, simplification and linearization

 - repetitive

 - progression of style change that began with column of Marcus Aurelius

 - less classical than Lepcis Magna arch, even though built at the same time

Arch of Septimius Severus

(at Lepcis Magna)

early 3rd cent AD

- abstraction of figures, not classical

 - simple rendering because significance more important than realism

 - "broken pediments"

 - constructed on a low base at an intersection, so you have to walk around it.

Diocletian's 5 Columns monument

Late 3rd cent AD

- 4 Tetrarchs plus Jupiter honored

 - sits in front of arch of Septimius Severus

 - depicted in the arch of Constantine

 - only base remains with victories, triumphal processions

 - repeating imagery, low relief, more pictorial and less sculptural

Frieze A, Cancelleria Reliefs

late 1st cent AD

Allegorical figures (Mars, personification of the senate, youth of Rome)

 - athena, head of Nerva is re-cut from Domitian

 - Vespasian compares himself to Augustus with an arch of peace like the altar of peace