-
This period was marked by Verism portraiture and art in service of the state and its accomplishments. Verism relied on hyper-realistic characteristics imposeing a degree of wisdom and servitude on the depicted. This style was used by "New Men" looking to compete in the ever changing political and economic landscape, adding an otherwise absent degree of ancestry to their likeness. Heavy on Greek and Etruscan influence, the Roman's begin the development of their own styles.
-
This piece, created in stages, reflects stylistic changes of the late Roman Republic and into the early Imperial period. The standing male is reflective of the veristic style of the republic while the later additions of the ancestors heads are reminiscent of the idealized Greek influence that is prominent in the early Imperial period. This piece is reflective of the ancestral ties important to the new republic and the exclusivity of affording to immortalize one's family in stone. (Deska, 2021) -
This portraiture statue of a man is representative of the Veristic Style emerging in the Roman Republic. It depicts a hyper-realistic representation that is aged, signaling his wisdom and devotion to servitude of the republic. It visually depicts the characteristics of importance in Roman society; pietas, gravitas, virtus, etc. This gave "New Men" an added edge in a political arena that prioritized those of prestigious ancestry. Later in Imperial Rome, this style will signal republican ideals. -
Imperial Rule shifted the style of art. Earliest works (c. 27 BCE-69CE) favored idealized Greek Classical form, as depicted in Augustus of Primaporta, marking a new era of leadership. (Ambler, 2015) Vespasian's style (c. 69CE) echoed ideals of the Republic, creating a visual language in styles of leadership. The 5 good emperors brought stability and great architecture. The Late Imperial period was defined by the Tetrarchy (c. 285 CE), Constantine (c. 323 CE) and the introduction of Christianity.
-
This work is exemplary of the propagandistic and confirmative works of the Early Empire. The stark contrast to the Veristic style marks a change in leadership. Echoing the Classical Greek style, the idealized beauty depicts a ruler of divine right. The addition of the Cupid presents a heritage linked to the Gods. Standing in Adlocutio, dressed in toga and military regalia, we are presented with a leader of strong military and political might. His form is unobtainable and his stature is imposing. -
Following Nero, Rome was on the brink of economic collapse. Vespasian pulled Rome back from despair under his direction. Representations of himself helped break from the Julio-Claudism rule and visually connect himself back to republican values. As a plebeian whose rise to election came through military accolades, the veristic style employed depicted his military service. This developed a visual language amongst artistic representations that conveyed political affiliation. -
The Colosseum represents several important facets of the Early Imperial period. First it is representative of the building projects Vespasian directed in order to rebuild the economy. It as well represents the architectural advancements of the Romans (Concrete, barrel vaults, superimposing of the columns, ingenuity, etc.). Lastly it demonstrates the scale and order of the Empire. Holding 50,000 people for frequent gatherings and games is symbolic of the vitality of the empire. -
Early Christianity functioned as a cult religion primarily underground. The earliest works of art looked very different from what we now know as Christian, particularly around death and resurrection. Works alluded to these principles and could be viewed as an allegory for the life of Christ. (Farber, 2015) Depictions of Christ focused on him as the Good Shepard or as a philosopher and teacher and not fully as a divine entity, reflecting the philosophical foundations of Christianity.
-
Constantine brought great change to the empire following the downfall of the Tetrarchy and he sought ways to align himself with notable emperors of Rome. Pieces were pulled from relics of Hadrian, Marcus Aurelius and Trajan in construction of the arch, visually aligning Constantine with their rule as well as offering confirmation of the Christianity. "This was vitally important to Constantine, who had himself essentially bypassed lawful succession and usurped power from others" (Findley, 2015). -
Ordered by Constantine, and in the creation of a new religion, contrasted the earlier temple forms. An axially approach taken to these new religious structures reflected the Basilicas of Rome. The Arch at the end of the nave was reminiscent if the Palace of Diocletian that made it both authentically Roman and visually placed the ruler parallel to the church. Building religious structures in this way and to the scale of the Roman empire played a key role in the rise of the Christian church. -
Like the Arch of Constantine, the colossus reflected Constantine's desire to be related to other great emperors of Rome and his inclusion of Christianity. However it also demonstrates a practice of re-working art that was prominent in the Late Imperial period. This image of Constantine and the placement in the apse of the basilica placed him in proximity both visually and physically to the God's. In the rise of Christianity this gave confirmation to his rule. The size was as well domineering. -
In this depiction of Christ we see him with his apostles, posed in adlocutio and holding a scroll. All of the elements of the depiction work in confirmation of his authority. However, most interesting is that the details present him as a philosopher and teacher and not as a divine being. His authority comes from his knowledge. His apostles appear as his students. This depiction clues us into the foundations of Christianity closely paralleled to Greek and Roman philosophy. (Farber, 2015)