Oratory Of Galla Placidia ( Mosaic Gold ) And Stucco

This paper is a formal analysis of the Marble grave stele with a family group relief sculpture. It is a pentelic marble style relief standing at 171.1cm tall carved by a master. It is from the Late Classical period of Greek, Attic which was completed around ca.360 B.C. . I chose to analyze this piece as apposed to the others because I’m mainly attracted to art and sculptures from the Greek era. The overall color used in this relief is ivory with a few cracks and pieces broken off. There is some discoloration which causes the color to come off as slightly light brown for most of the relief. The sculpture appears larger compared to the other sculptures in the art room. It represents a family which includes a man, his wife, and their

From an historical perspective, this piece is an excellent example of early classical Rome. You can sense the respect and admiration that the average Roman citizen had for Augustus, in the fine details of the sculpture.

This paper will analyze the iconography of the mosaic, Good Shepherd (lunette, Oratory of Galla Placidia, c. 425-26, Ravenna, Italy), that is located on the lunette over the north doorway of the Mausoleum of Galla Placidia, Ravenna. The iconography has been one of the most recognized and admired works of art since the 3rd century AD. In the mosaic, the artists present a depiction of Christ symbolic and traditional of Byzantine art during the conversion of Christianity in Roman provinces.

The purpose of this assignment is to present a brief yet comprehensive formal analysis of the work in question, namely, Joos van Cleve’s Lucretia. The painting was completed ca. 1525 by the Flemish artist most likely in Antwerp, where he was highly active from about 1511 until his death in 1540. The painting is oil on panel (75.9 x 60.6 cm) and is exemplary of the early Baroque period. The work depicts at the broadest level the suicide of the early Roman historical figure, Lucretia, following her rape c. 510 BC by Sextus Tarquinius, son of the last Roman king. The incident bears historical significance as it marks rising popular dissatisfaction of the Roman people with the monarchy, and the transition from the Roman Kingdom to the Roman Republic,

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

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

The Ceiling of the Mausoleum of Galla shows Christ as the Good Shepherd taking care of his sheep’s. This picture show Christ with a golden halo (Gold color represents power and wealthy). He is wearing a loyal purple mantle to show that he is a king and god. He is also holding a Christian cross.

The Sarcophagus with reclining couple from the Banditaccia necropolis, Cerveteri, Italy, ca. 520 BCE portrays the subjects in their ideal state of life. It functions as a prime example of the extravagant Etruscan depiction of death and the deceased. The man and

For being over eight hundred years, the Christ in Majesty with Symbols of the Four Evangelists remained in remarkable condition. However, pieces of the original piece, which originated in the Catalan chapel in Spain, have faded. Portions, especially along the bottom, have disappeared over time. Even though historians moved it to the Boston Museum of Fine Arts, it has not been fully restored. The artist identified each of the apostles in the Christ in Majesty with Symbols of the Four Evangelists, but the writing has grown fainter and this creates a difficulty for art historians. Another key factor in the overall story represented has faded--one of the lamps or incense holders beneath Christ.

The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo was completed in 1528 and originally resided in the Florence Charterhouse as the main altarpiece. With it’s distinct iconography, the work was intended to show the public the raw suffering of Christ after his sacrifice and how those around him felt at the time of his death. It holds an uplifting and even hopeful tone with it’s “sour” color palette, a stable for the Mannerist movement.

The Jewish community started Christianity, but Christianity later spread and convert from all over the Greco-Roman world were attracted by this religion during the progress of the first century CE. Ideas, traditions, ways of worship and traditions were brought along by the new convert of Christianity and it was adopted by their faith. This is through art because Christians who were once pagans of the Roman Empire stick to their artistic heritage when they became followers of Jesus Christ. Roman artistic forms and motifs and also Roman architecture were being used by this new convert to express their new faith. In further explanation, we’ll see how Roman art influenced the developing art of early Christians.

The Christ in Majesty with Symbols of the Four Evangelists uses an interesting technique, compared to the previous Byzantine decorations in apses. The Spanish apse incorporates the technique of fresco painting, where artists painted pigments into the plaster and wood on the walls so the paint would become one with the walls, similar to methods used in ancient Greece, compared to exercising mosaics as decorations in Byzantine

The paper serves as a critical analysis of Thomas F. Mathews’ “The Mistake of the Emperor Mystique” chapter in his book The Clash of Gods: A Reinterpretation of Early Christian Art. The scope of the analysis extends only to the chapter, the works included in the chapter and some supplemental sources by other art historians. It examines Mathews’ central argument and auxiliary claims, paying attention to his use of sources. Additionally it probes the validity of his assertions, drawing comparisons to other works or historians.

This essay starts with the use of Roman architecture to practice Christianity. Then I will write about how the image of the Roman emperors became the inspiration for the image of the Jesus. Finally I will discuss the way Romans used the same iconography and narrative they already had as a formula to image the bible.

The Good Shepherd in the Catacombs of St. Pietro and Marcellius is a fresco found in Rome during the fourth century. It contains shapes of crosses with Christ in the center and the good shepherd. It uses orans that are figures without stretched hands representing a prayer towards Heaven.