Analysis Of The Marble Portrait Of Caracalla

This statue seems to have been treated poorly and not with much care. It can be seen that it went through a lot causing such damage. However, because of its massive size, it was able to survive and still be in somewhat good condition. The body around the torso is relatively smooth and in tact with minor scratches. Her body itself was not as damaged but mostly around the edges of the statue were broken off. The texture seems to be of hard, rough limestone but it was smoothed out when being carved.

The first thing you notice about sculpture is the texture of it, it feels smooth, like its made of a clay yet it has a lot of depth and value, the skull itself isn’t proportional since it is tilted to

The artwork I chose to talk about is on page 232. Figure 8.16, Funerary Relief of a Circus Official, Ostia, 110-130. The medium of the artwork is made from Marble relief. The Tombs in the old days of roman families built outside of the city walls, along roadways entering the city. The vision of the monuments is to preserve individual’s fame, family honor, and status in the society. The extended family of the deceased also held feasts and putting out food and drink for the dead for enjoying. The large figure in the picture is the official himself, holding hands with his wife at the left side. The handshake symbolizes in the Roman art the indication of marriage. The palm branch symbolizes the victory. There are many accents in the artwork

The study of Greek sculpture is a complex relationship of Roman sculpture. And a large number of Roman sculpture, especially in the stone, survives more or less intact, it is often damaged or piecemeal; life-size bronze statues are much more rare, because as most have been recycled for their metal. The

II-Government (Document E + F, Illustration from The Greek World by Anton Powell, 1987, and a Fresco of the Roman Senate painted

The statue of Augustus portrayed as Pontifex Maximus or “chief priest” from 12 BCE is also a propaganda-driven portrait. August is displayed with his head covered and wearing a robe. He looks to be dressed for a sacrifice. The statue is still very idealized with Augustus looking strong and youthful but true features still present. The statue itself displays that Augustus is not only the ruler of Rome but also the religious leader as

Among the many artworks I have seen, I decided to discuss about the “Sarcophagus Depicting a Battle between Soldiers and Amazons (Warrior Women)” from the Roman civilization. It was built sometime in between 140 A.D. to 170 A.D and is approximately forty and a half inches in length, ninety-one and a half inches in width, and fifty and a half inches tall in height (“Roman Sarcophagus”). This masterpiece appealed to me because of the unique approach that has been designed to honor the deceased. Many people are familiar with the formatting and inscriptions of a gravestone because it is usually engraved with an individual’s full name, birth date, and death date. During the Roman Empire, a sarcophagus, which is a coffin, was widely used to show decorative themes that includes: battle scenes, hunting scenes, weddings, or other memorable episodes from the life of the deceased individual. The most luxurious ones were made from marble surrounded by symbolic sculptures, figures and inscriptions on all four sides (“Sarcophagus”). Another feature that captured my attention was the large quantity of details used to bring out a lifelike aspect of the deceased individual’s favorable moments in their life. In this artwork, this sarcophagus was dedicated to a Roman commander. The exterior of the sarcophagus has been well-decorated and carved with exquisite details depicting a battle scene

This sculpture is comprised of marble, and due to its large size it was easier for me to develop an impression about the piece because I can focus on specific parts in more detail. To understand the piece, a very visual and detailed perspective is needed. Judging by the way the thighs are represented, it appears as though she is striking a contrapposto pose, which makes her appear static. She has most of her weight shifted on her left leg, but not all of it The focal point of this piece I believe is her robe. It skillfully falls down her left side, while leaving other parts exposed, drawing the main attention of this piece. Few different types of shapes are displayed, except the shape of her legs and the form of the robe. The physical texture was smooth throughout the entire piece, partly due to the material it is made of. There is only this one texture, as her robe and body parts all feel the same.

The marble used to create the sculpture brings out the fine quality of such material. It also adds elegance and sensuous grace to the whole sculpture. The use of marble links the sculpture to the radiance and softness of the female skin. The hips of the

14 As Stamper argues, this is a significant aspect of portraying authority when one an emperor uses precedent of Rome’s founding 15 and this is shown by Augustus in commemorating the temple to Julius Caesar as a sign of celebrating his own triumph. The Temple of Julius Caesar sat on an elevated podium with rostra in front of the colonnade where prows of the ships captured from the Battle at Actium were hung.16 Similarly, the public rostra erected at the opposite site of the Forum also consist of captures obtained from the Battle of Actium and these rostra that faced each other act as a reminder of the glories of the old Republic and the achievements of the restored Rome under its new leader, Augustus.17 To reflect more of the idea of power, Augustus uses different architectural elements to deliver them. Similar to the nearby Temple of Castor and Pollux erected during the Republic, the Temple of Julius Caesar had a pycnostyle composition that consisted of six closely arranged columns with

In Mary Beard’s book, The Roman Triumph, she explores one of the most interesting victory celebrations of the ancient world. Instead of having a small gathering, or even a raucous party, Romans brought what they had seized and carted it through the city. They even brought some people they had captured so that the crowd could know exactly who they triumphed against. This celebration gives historians a view into the Romans lifestyle. Roman triumphs also show what values were important to the Romans and where they found their significance. Using Mary Beard’s book I will demonstrate the nature of Roman triumphs by giving examples from Pompey’s triumph in 61BC, what these triumphs tell historians about the Roman world and why they are significant, and what they tell us about the values the Romans held dear.

“The coin types may be considered political from the start, for the ubiquitous references to family and to ancestral achievements were a normal part of political discourse at Rome.” Coins were an integral part of society in Rome. In addition to coins economic function, emperors used coins as propaganda about their achievements and their family members. These coins would have been produced and used throughout the empire as an “abstract symbolism of power.” This was the case with funerary subject matter that was struck by heirs and other family members to showcase individuals being consecrated, and their own power as a result of this association. In this essay, I am going to examine the coins of Claudius, Faustina I, and Marcus Aurelius,

In 27 BC Augustus began his political career with a “new policy which embodied a national and Roman spirit” (Galinksy, 1996, 225) and “represented new heights in creativity and sophistication” (Galinksy, 1996, 225). Augustus created a new political propaganda campaign that used art and architecture to promote and enhance his regime. The most fundamental message can be regarded as to establish the legitimacy of his rule and to portray him as the natural successor of Rome, as this is consistently presented throughout the visual programme. Yet factors such as the restoration of the Republic, reviving the old religion, nationalism and militaristic triumph can also be seen to be communicated prominently through art and architecture.

Portraits of Roman Emperors have long been used as a means of conveying messages to the public, as well as conveying an emperor’s

Abstract: In this paper I attempt to admire the spectator’s experience while viewing the Arch of Titus, and bring to the forefront why I find the Arch of Trajan to be underappreciated. I will compare the two by first analyzing the meaning of the Arch of Titus, and then analyzing and summarizing the Arch of Trajan. The source I used for the Arch of Trajan may be among the outliers of most scholars, but I find that I agree with their analysis of the arch in that it was not simply a list of Trajan’s accomplishments, but rather outcomes of his famed policy, unrightfully credited to Nerva, of alimenta.