The Abduction Of Proserpine By Alessandro Allori

SHELDON
NODELMAN
 from
 E.
D’Ambra,
ed.,
Roman
Art
in
Context.
NY:
Prentice
Hall.
1993
pp.
10‐20
 Like all works of art. the portrait is a system of signs; it is often an ideogram of “public’ meanings condensed into the image of a human face. Roman portrait sculpture from the Republic through the late Empire-the second century BCE. to the sixth CE -constitutes what is surely the most remarkable body of portrait art ever created. Its shifting montage of abstractions from human appearance and character forms a language in which the history of a whole society can be read. Beginning in the first century B.C., Roman artists invented a new kind of portraiture, as unlike that of the great tradition of Greek

Peter Paul Rubens’ masterpiece, Venus and Adonis, is not only a significant artwork of the baroque-period in Europe during the seventeenth 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 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

The painting this paper will focus on is titled The Abduction of Europa by Noël-Nicolas Coypel. In this painting, the artist uses composition, light, color, and expressive qualities to achieve the mood of romance and playfulness in a mythological scene. The huge painting is representing a known myth that involves the Roman equivalent of a Greek myth of a powerful god being so infatuated with a nymph that he kidnapped her. In the this painted visual, we are specifically witnessing the moment Jupiter is swimming away with Europa and taking her far from her home.

The North Carolina Museum of Art (NCMA) holds many works of art from all types of cultures from around the world. The Torso of an Emperor in the Guise of Jupiter from Roman culture and the Torso of Aphrodite from Greek culture, are but two of them. It is unknown who the artist was for either of them, but the work has lived on for centuries. During the time period the gods were known for their perfection- like body and extraordinary looks. Since the sculptures highlight only the torso of the body it represents that only image matters and the brain does not.

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

This article writes at length about the discovery of the statue/sculpture of Venus de Milo of Aphrodite from Melos. Three perspectives are presented in the article firstly on how the statue was discovered and the speculations made by the experts and other artists about the sculpture and the other structures unearthed with or near the sculpture. Another perspective presented by Kousser is how the sculpture does not necessarily epitomize female beauty, but it represents Hellenistic classical art. The author highlights how the sculpture was actually setup at the

In Ovid Metamorphoses, the Roman literature described the ruthless act of Pluto of rape, to seize and carry away Proserpine without the consent of Ceres and in parallel in the Homeric Hymns of Demeter; Persephone was seized and carried away by Hades without the consent of Demeter. The invariant theme that was identified in both the Greek and Roman literature was the loss of innocence of Persephone/Proserpine. Despite the various differences the story was presented, it reinforced the innocence that was stolen from the god of the underworld, Hades or also known as Pluto. Throughout this paper, it will discuss the similar characteristics of the two myths such as the motive that led and encouraged the god of the underworld to kidnap

Greco-Roman mythology is rich in names, characters, and events. Dozens of gods, goddesses, and mortal women and men participate in a variety of activities that reflect or exemplify behaviors and power relations in Greek and Roman societies. A wealth of literature was written about the relationships between mortals and immortals in Greco-Roman mythology. Much was written and said about the place humans occupy in the complex mythical hierarchies. However, the role and place of women remain the topic of the hot literary debate. In Greco-Roman mythology, the image of woman is always

The chosen art piece, from Roman origin, is titled “Dionysus” and portrayed Dionysus, the god of wine, with his follower Pan. This artwork is a great example of Greek art’s influence in Roman artwork. The main elements of Greek’s naturalistic art, specifically of High Classical period, are rendered beautifully in this piece combined with distinctive elements from verism, unique to Roman art. So, the idealism of Greek art and the individualism of Roman art come together to create an art piece that is divine, mythical, and yet very human and therefore, relatable.

The artwork I chose to write about is The Indian Triumph of Dionysus which I came across on my visit to the Museum of Fine Arts. The artwork was commissioned by a wealthy Roman during the end of the second century A.D. Although the Dionysus cult may hold many mysteries it is known that this artwork originated in Rome. The individual who funded that creating of this sarcophagus desired to commemorate his beliefs. Desiring for others to know what he associated himself as is what gave birth to this masterpiece.

While Gian Lorenzo Bernini’s sculpture “Apollo and Daphne” depicts a Romanian story of forbidden love, Ron Mueck’s “Two Women” portray two elderly women hyper-realistically. By analysing the meaning behind the two sculptures, evidence is given that the two artists had different intentions for their work. The story “Apollo and Daphne” is from a roman poem named “Metamorphoses” by a man named Ovid. In the story, Apollo is hit by a magical arrow from a god of

One very noteworthy statue of the Classical Period was called “Aphrodite of Knidos”. The original sculpture inspired various amounts of copies, but sadly the original itself did not survive. “Aphrodite of Knidos” was created by Praxitele and is thought to be the most famous sculptures of Classical Greece. The sculpture depicts Aphrodite just have taken off her clothes and was about to step into the bath. She may have had an onlooker and she covered her pelvis from their view.

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.

Artemisia Gentileschi, Venus and Cupid, ca. 1625-30. Oil on canvas, 38 x 56 5/6 inches. Virginia Museum of Fine Arts, Richmond, VA.

Focusing on two of history’s most notorious mythologies, Greek and Roman, one may believe that they are exceedingly comparable; however, beyond a first glance, it is clear that each system is extremely distinguished. The Roman Empire, developed nearly a millennia following the great, Greek Trojan war, was highly influenced by the elaborate Greek myths of gods, goddesses, monsters, and mythical creatures. Their captivation of Greek culture bore a permanent effect on the Roman Empire, as Rome adopted much that defined Greece, including its art, philosophy, literature, drama, and most importantly, mythology. However, despite their indistinguishable origins, Roman and Greek mythologies prove to be very individualized.