Making sculptures in ancient Rome project. An equestrian bronze statue of Marcus Aurelius has survived to this day.

Presentation "The Artistic Culture of Ancient Rome". Executed for the textbook Rapatskaya L.A., World artistic culture, grade 10 (Approved by the Ministry of Education and Science of the Russian Federation for use in the educational process in educational institutions, complies with the Federal State Educational Standard), M., Vlados, 2014. Contains information about the architecture, sculpture of the Ancient Rome. . . The presentation presents the most famous architectural monuments of Ancient Rome. The presentation is made sequentially and corresponds to the material in the textbook. The topics of individual slides are discussed in detail.

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The Art of Ancient Rome Performed by T.E. Sopina, MHC teacher. G. Kerch, school 26

Ancient Rome I-V centuries. Capitoline wolf, ca. 500-480 BC e. bronze. Height: 75 cm Capitoline Museums, Rome Etruscan bronze sculpture, stylistically dating back to the 5th century BC. and has been kept in Rome since antiquity. Depicts a she-wolf feeding milk to two babies - Romulus and Remus

Caesar's Forum is the first of the imperial forums of Rome. The Roman forum is a square in the center of Ancient Rome along with adjacent buildings. Initially, it housed a market, later it included a comitium (place of public meetings), a curia (place of meetings of the Senate) and also acquired political functions.

Arch as a connection of two worlds The Triumphal Arch of Titus is a single-span arch located on the ancient Sacred Way southeast of the Roman Forum. Built by Domitian shortly after the death of Titus in 81 AD. e. in memory of the capture of Jerusalem in 70 AD. e. Served as a model for many triumphal arches of the New Age.

The Colosseum, Flavian Amphitheater, an architectural monument of Ancient Rome. Construction of the largest amphitheater in the entire ancient world took eight years, as a collective construction of the emperors of the Flavian dynasty: construction began in 72 AD. under Emperor Vespasian, and in 80 AD. The amphitheater was consecrated by Emperor Titus.

The Pantheon is the “temple of all gods” in Rome, a monument of centric-dome architecture. There are no windows in the Pantheon. The only source of light is a 9-meter round hole at the top of the dome, symbolizing the heavenly all-seeing eye

Roman sculptural portrait Roman sculptural portrait is one of the most significant periods in the development of world portraiture, spanning approximately five centuries (1st century BC - 4th century AD), characterized by extraordinary realism and the desire to convey the character of the depicted; in ancient Roman fine art, its quality occupies one of the first places among other genres Glyptothek (collection of busts) in the Archaeological Museum of Bologna

Roman sculptural portrait of Emperor Augustus in the Roman National Museum (Palazzo Massimo).

Roman sculptural portrait Statue of Augustus from Prima Porta. Marble. Last Thursday I century BC e. Rome, Vatican Museums

Basilica of Maxentius-Constantine (306-312) The Basilica of the Roman Forum of Maxentius-Constantine (306-312) was a gigantic three-nave building with an area of ​​6 thousand square meters. The middle nave, ending in a semicircular apse, was covered with three vaults, which rested on eight pillars and were supported from the outside by buttresses. The outer walls were cut through with tiers of arched openings.

Antiquity, a world of high culture, was the spiritual basis for many generations of Hellenes and Romans. The ancient maxim “Man is the measure of all things” became the source of the development of European civilization. From the end of the 5th century. A new period of European history begins, illuminated by the values ​​of Christianity.

Sculpture of Ancient Rome. Sculpture of Ancient Greece.

Ancient Rome sculpture The main advantage of Ancient Roman sculpture is the realism and authenticity of the images. First of all, this is due to the fact that the Romans had a strong cult of ancestors, and from the earliest period of Roman history there was a custom of removing death wax masks, which were later taken by sculpture masters as the basis for sculptural portraits. The very concept of “ancient Roman art” has a very conditional meaning. All Roman sculptors were of Greek origin. In an aesthetic sense, all ancient Roman sculpture is a replica of Greek sculpture. The innovation was the combination of the Greek desire for harmony and Roman rigidity and the cult of strength. The history of ancient Roman sculpture is divided into three parts - Etruscan art, sculpture of the Republic era and imperial art.

Etruscan art Etruscan sculpture was intended to decorate funeral urns. These urns themselves were created in the shape of a human body. Realism of the image was considered necessary to maintain order in the world of spirits and people. The works of ancient Etruscan masters, despite the primitiveness and schematic nature of the images, surprise with the individuality of each image, its character and energy.

Sculpture of the Roman Republic Sculpture from the times of the Republic is characterized by emotional stinginess, detachment and coldness. The impression of complete isolation of the image was created. This is due to the exact reproduction of the death mask when creating the sculpture. The situation was somewhat corrected by Greek aesthetics, the canons by which the proportions of the human body were calculated. Numerous reliefs of triumphal columns and temples that date back to this period amaze with their grace of lines and realism. Particularly worth mentioning is the bronze sculpture of the "Roman She-Wolf". The fundamental legend of Rome, the material embodiment of Roman ideology - this is the meaning of this statue in culture. The primitivization of the plot, incorrect proportions, and fantastic nature do not in the least prevent one from admiring the dynamics of this work, its special sharpness and temperament. But the main achievement in the sculpture of this era is the realistic sculptural portrait. Unlike Greece, where when creating a portrait, the master one way or another subordinated all the individual features of the model to the laws of harmony and beauty, Roman masters carefully copied all the subtleties of the models’ appearance. On the other hand, this often led to simplified images, rough lines and a distance from realism.

Roman Empire Sculpture

• The task of the art of any empire is to exalt the emperor and the power. Rome - not an exception. The Romans of the imperial era could not imagine their home without sculptures of ancestors, gods and the emperor himself. Therefore, many examples of imperial plastic art have survived to this day. First of all, the triumphal columns of Trajan and Marcus Aurelius deserve attention. The columns are decorated with bas-reliefs telling about military campaigns, exploits and trophies. Such reliefs are not only works of art that amaze with the accuracy of their images, multi-figure composition, harmonious lines and subtlety of work, they are also an invaluable historical source that allows us to restore everyday and military details of the imperial era. The statues of emperors in the forums of Rome are made in a harsh, rough manner. There is no longer a trace of that Greek harmony and beauty that was characteristic of early Roman art. The masters, first of all, had to portray strong and tough rulers. There was also a departure from realism. Roman emperors were depicted as athletically built and tall, despite the fact that rarely any of them had a harmonious physique. Almost always during the Roman Empire, sculptures of gods were depicted with the faces of the ruling emperors, so historians know for sure what the emperors of the largest ancient state looked like. Despite the fact that Roman art, without any doubt, entered the world treasury of many masterpieces, in its essence it is only a continuation of ancient Greek. The Romans developed ancient art, made it more magnificent, more majestic, brighter. On the other hand, it was the Romans who lost the sense of proportion, depth and ideological content of early ancient art.

Ancient Greece sculpture . The art of Ancient Greece became the support and foundation on which the entire European civilization grew. The sculpture of Ancient Greece is a special topic. Without ancient sculpture there would be no brilliant masterpieces of the Renaissance, and the further development of this art is difficult to imagine. In the history of the development of Greek ancient sculpture, three large stages can be distinguished: archaic, classical and Hellenistic. Each one has something important and special. Let's look at each of them.

Archaic This period includes sculptures created from the 7th century BC to the beginning of the 5th century BC. The era gave us figures of naked young warriors (kuros), as well as many female figures in clothes (koras). Archaic sculptures are characterized by some sketchiness and disproportion. On the other hand, each work of the sculptor is attractive for its simplicity and restrained emotionality. The figures of this era are characterized by a half-smile, which gives the works some mystery and depth.

"Goddess with Pomegranate", which is kept in the Berlin State Museum, is one of the best preserved archaic sculptures. Despite the external roughness and “wrong” proportions, the viewer’s attention is drawn to the hands of the sculpture, executed brilliantly by the author. The expressive gesture of the sculpture makes it dynamic and especially expressive. "Kouros from Piraeus", which adorns the collection of the Athens Museum, is a later, and therefore more advanced, work of the ancient sculptor. Before the viewer is a powerful young warrior. A slight tilt of the head and hand gestures indicate a peaceful conversation that the hero is having. The disturbed proportions are no longer so striking. And the facial features are not as generalized as in early sculptures of the archaic period.

Classic

• Most people associate sculptures of this particular era with ancient plastic art. In the classical era, such famous sculptures as Athena Parthenos, Olympian Zeus, Discobolus, Doryphorus and many others were created. History has preserved for posterity the names of outstanding sculptors of the era: Polykleitos, Phidias, Myron, Scopas, Praxiteles and many others. The masterpieces of classical Greece are distinguished by harmony, ideal proportions (which indicates excellent knowledge of human anatomy), as well as internal content and dynamics .
• It is the classical period that is characterized by the appearance of the first nude female figures (the Wounded Amazon, Aphrodite of Cnidus), which give an idea of ​​the ideal of female beauty in the heyday of antiquity.

Hellenism

• Late Greek antiquity is characterized by a strong Eastern influence on all art in general and on sculpture in particular. Complex angles, exquisite draperies, and numerous details appear. Oriental emotionality and temperament penetrates the calm and majesty of the classics. Aphrodite of Cyrene, decorating the Roman Museum of Baths, is full of sensuality, even some coquetry.
• The most famous sculptural composition of the Hellenistic era is Laocoon and his sons of Agesander of Rhodes (the masterpiece is kept in one of Vatican Museums ). The composition is full of drama, the plot itself suggests strong emotions. Desperately resisting the snakes sent by Athena, the hero himself and his sons seem to understand that their fate is terrible. The sculpture is made with extraordinary precision. The figures are plastic and real. The faces of the characters make a strong impression on the viewer.

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The debate over whether there is such a thing as a “Roman style”, for obvious reasons, mainly concerns sculpture. Even if we do not take into account the massive import and copying of Greek originals, the reputation of Roman masters as imitators seems justified, since a large number of works are most likely alterations and variants of Greek samples from all periods of the development of sculpture. The demand for sculpture in Rome was enormous, and this was partly dictated by the Romans’ love for antiquity, and partly by the desire to decorate the interiors as magnificently as possible. At the same time, without a doubt, some types of sculpture were assigned important and serious functions in Ancient Rome. It was these types of sculpture that received the greatest development in Roman art. The most interesting and remarkable of them were the sculptural portrait and narrative relief, genres with deep roots in the life of Roman society.

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Sculptural portraits The most characteristic features of Roman portraits were their cold and transparent “photography”. One would like to say that there is a lack of inspiration in these works - not as a condemnation, but to note the main difference between the Roman master in comparison with Greek or even Etruscan portrait painters. This seriousness was intentional and was considered a virtue. If the Hellenistic portrait impresses with the subtle psychologism of the sculptor’s penetration into the inner world of the model, then the Roman one strikes at first glance with the absence of anything other than a careful reproduction of facial features; Essentially, the character of the person depicted comes through unintentionally.

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In the statue from Primaporta, the desire to give the appearance of Augustus a divine appearance is obvious. Clothing realistically reproduces the texture of the surface, surprisingly accurately conveying the impression of fabric, leather, and metal. Facial features were also idealized. Minor physiognomic details are obscured, attention is focused on the eyes, which makes the look “inspired”. At the same time, there is a clear portrait resemblance; the sublime does not suppress the individual. This becomes especially obvious when compared with countless other sculptural portraits of Augustus. It is possible that this statue, found in the villa of Augustus's wife, was created in accordance with his personal instructions. It is distinguished by a high artistic level of execution, rarely found in portraits of rulers, which were created in conditions of mass production. Statue of Augustus from Primaporta

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Equestrian Statues The statue of Marcus Aurelius on horseback is notable not only as the only surviving equestrian monument to emperors, but also as one of the few ancient Roman statues that remained publicly visible throughout the Middle Ages. The tradition of giving the emperor sitting on a horse the image of an invincible ruler of the world has taken root since the time of Julius Caesar, when he allowed a similar monument to be erected for himself. Marcus Aurelius also wanted to look victorious. This is more of an image of a peacemaker rather than a military hero. This was the view of this emperor on himself and on his reign.

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Portrait busts The sculptor very accurately conveyed the character of the despot, who, according to contemporaries, “in his refined cruelty reached the point that he was especially affectionate with those whom he destined for death, so that they were more afraid of his affection than his anger,” EMPEROR CARACALLA

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This is not just a bust, it is one of the few surviving fragments of a gigantic (the head alone is 2.44 m high) statue that was once located in the huge Basilica of Constantine. Everything in this head violates the usual proportions so much that it overwhelms the viewer with its majesty. The sculptor’s task was to create the impression of a certain power that surpasses all imaginable scales, which is emphasized by the massive, motionless features of the face; The gaze of the huge radiant eyes is especially impressive. This image essentially speaks not so much about what Constantine really looked like, but about how he perceived himself and what he was like to his enthusiastic subjects.

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Roman sculptural portrait is one of the most
significant periods in
world development
portrait covering
approximately five centuries (1st century.
BC e. - IV century n. e.),
characterized
extraordinary
realism and aspiration
convey character
depicted; V
ancient Roman
fine art
art in its own way
quality is one of
first places among others
genres.

Etruscan portrait

Sarcophagi appearing from the 6th century BC. e., as a rule, depicted
the deceased is still alive, reclining on the bed in a feasting position,
leaning on the pillow and looking at the viewer; on the face
active facial expressions, often smiling. Can portray as one
the deceased, and paired marital portraits (for example, Sarcophagus
spouses from the necropolis of Banditaccia (Cervetri) 6th century BC. e., museum
Villa Julia).

Republic Era Portrait

A characteristic feature of the portraits of this
period - extreme naturalism and
verisimilitude in conveying facial features
what distinguishes a particular
identity from any other person.
These trends go back to the Etruscan
art. An important reason that
these aspects later intensified, became
turning point in Roman history
when individuals began to play
significant role, and the Republic
was replaced by a dictatorship. Verism -
term that is used in
in relation to realism, turning into
naturalism characteristic of Roman
portraits of the end of the Republic (1st half.
and ser. I century BC e.). This is the maximum
surge of naturalism in Roman
portrait; numerous truthful ones
portraits of old people, often ugly
"Portrait of Cato"
Senior", approx. 80 BC e.
Rome, Torlonia Museum

Portrait from the Empire era

Sculpture from this period -
Augustan classicism -
characterized by simplicity and
clarity of construction,
rigor, restraint,
clarity of forms and
desire for generalization,
which are combined with
traditional aspiration
to documentary accuracy.
Particularly striking examples -
official courtier
portrait (August and his family),
where the departure from Hellenism is visible
(existed in
republican portrait) and
shows interest in more
early classical
art of the V-IV centuries. BC e.
Emperor Augustus

Capitoline wolf

Capitoline wolf (lat. Lupa Capitolina) - Etruscan
bronze sculpture, according to stylistic characteristics
dating back to the 5th century BC. and since antiquity stored in
Rome. Depicts (approximately life-size)
a she-wolf feeding two babies with milk -
Romulus and Remus, the legendary founders of the city. Counts,
that the wolf was a totem of the Sabines and Etruscans, and the statue was moved
to Rome as a sign of the merger of the Romans with these peoples.

August from Prima Porta

-
more than two-meter statue
Augusta, found in 1863
at the villa of the emperor's wife
Augusta. Villa discovered
near Rome on
Flaminia road in the area
Prima Porta, which is in
ancient times called
Ad Gallinas Albas. Statue
is a copy from a bronze
original, made according to
ordered by the Roman Senate in 20
year BC uh.. They believe that
statue, unlike
most of the surviving
images of Augustus, has
portrait likeness. Very
probably according to the ancient
tradition she was
polychrome

Antinous Capitolinus

Capitol
Antinous -
sculpture of Antinous,
Roman lover
Emperor Hadrian.
The statue is in
Rome in
Capitol
museum. Sculpture,
created during
ancient Rome, was
found in the villa
Adriana in Tivoli.

Antinous of Farnese

-
ancient roman marble
statue from the Carracci Gallery
Palazzo Farnese, original
which is now exhibited in
National
archaeological museum
Naples. Unlike
later images
Antinous in the form
idealized god, this
sculpture - like Antinous
Delphic - throughout
appearance, not without similarities
with the prototype, because it represents
beloved emperor
Adriana as fragile
young men.

Ares Borghese

- Roman
statue from early times
empire height 211 cm from
Borghese collection, in 1807
purchased
Napoleon for the Louvre.
Characteristic helmet and
anklet (gift)
Aphrodite) point to
that God is depicted
war - big
rare because it
there was no cult
widespread in
antiquities. It's a copy
Greek bronze
statue dating from V
century BC e. and one time
attributed to
Alkamenu.

Ares Ludovisi

-
marble statue
young beardless god
wars with the player
his feet are Cupid,
found on site
temple of this deity on
Field of Mars at
construction work in
1622. This is a copy from
original Greek
masters (possibly
Lysippos or Skopas);
dates back to time
good emperors.

Venus of Medicae

-
sculpted in real life
value in the 1st century BC. e.
marble copy of the lost one
Greek original,
close to Aphrodite
Knidskaya. The goddess of love
depicted in fleeting
fearful pose when emerging from
sea ​​water. Peculiarity
the statue is that at the feet of Venus
depicted (as
additional support)
dolphin.
In the 17th century, Venus was
in the papal assembly and
delighted all the guests
Eternal City. In 1677 her
purchased for your
Medici meetings; since then
it bears their name and is kept in
Uffizi.

Venus Capitoline

-
roman sculpture,
carved from marble
presumably in the 2nd century
modeled after a Greek statue
Aphrodite of the 4th century BC. uh..
Depicts standing next to
vessel and lying on it
naked with clothes
woman covering
hands womb and breasts
(belongs to the Venus type
Pudica - “Humble Venus”).
Found on Viminalsky
hill in Rome between 1667 and
1670 years.

Hermes tying a sandal

"Binding
sandal" -
several marble
sculptures
copied
masters of the Roman
empires with
lost
bronze original
IV century BC e. (circle
Lysippos).

Diana of Versailles

or Diana-
huntress - marble statue
1st or 2nd centuries BC e.,
reproducing
work
early Hellenistic
sculptor, possibly Leochares
(c. 325 BC).
Artemis dressed in Dorian
chiton and himation. Right
with her hand she is preparing to remove from
quiver arrow, left rests
on the head of the person accompanying her
fawn. Head turned
to the right, towards the probable
mining. Sculptures like this
type known to archaeologists from
excavations at Leptis Magna and
Antalya.

Furietti Centaurs

- pair
dark marble
early centaurs
Principate, one -
bearded old man with
martyr expression
faces, second -
smiling youth
which were discovered
in 1736 during excavations
Hadrian's Villas in Tivoli
Cardinal Furietti and
after long negotiations
entered
capitol meetings
Roman popes. Inscriptions on
the statues call them
by Aristeas and Papias
from Aphrodisium to Caria.

Equestrian statue of Marcus Aurelius

Statue of Marcus Aurelius -
bronze ancient Roman
the statue that is in
Rome in the New Palace
Capitoline Museums.
Was created in the 160-180s
of the year.
Initially
gilded equestrian
the statue of Marcus Aurelius was
installed on a slope
Opposite the Capitol
Roman Forum. This
the only horse
statue that survived from
antiquity, because in
In the Middle Ages it was believed
what does she represent St.
Konstantin.

Dying Gaul

“The Dying Gaul” - a marble preserved on the Capitol
Roman copy from a Pergamon original (probably bronze),
which was commissioned by King Attalus I in memory of his
victory over the Celts-Galatians. It is possible that the original
came out from under the chisel of the court sculptor Epigon.
In terms of naturalism and drama, the sculpture belongs to
the heights of ancient art. Gall is depicted lying on
shield, naked, except for a hoop around his neck. Like the throne
Ludovisi, the statue was probably discovered during construction
their villas in Rome until their acquisition by Pope Clement XII
was kept in the Palazzo Ludovisi on Pincio.