High Empire Part 2.

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Presentation transcript:

High Empire Part 2

90% of Rome’s Population lived In apartments Like this…. Glass Windows Shared Latrines Small Courtyards The brick-faced Concrete deterred Fires from spreading Figure 10-53 Model of an insula, Ostia, Italy, second century CE. Museo della Civiltà Romana, Rome.

Figure 10-54 Ceiling and wall paintings in Room IV of the Insula of the Painted Vaults, Ostia, Italy, early third century CE.

Intricate surface decoration Instead of illusion….. Figure 10-55 Neptune and creatures of the sea, floor mosaic in the Baths of Neptune, Ostia, Italy, ca. 140 CE.

Working class memorials: your identity Was your profession….conceptual view Figure 10-56 Funerary reliefs of a vegetable vendor (left) and a midwife (right), from Ostia, Italy, second half of second century CE. Painted terracotta, approx. 1’ 5” and 11” high, respectively. Museo Ostiense, Ostia. These will influence medieval illustrations

Classical characteristics: Single ground line Personifications Female personification (Tellus?), panel from the east facade of the Ara Pacis Augustae, Rome, Classical characteristics: Single ground line Personifications Proportionate figures Not Classical: The fusion of time Figure 10-57 Apotheosis of Antoninus Pius and Faustina, pedestal of the Column of Antoninus Pius, Rome, Italy, ca. 161 CE. Marble, approx. 8’ 1 1/2” high. Vatican Museums, Rome.

Conventions of lower class art being used! Figure 10-58 Decursio, pedestal of the Column of Antoninus Pius, Rome, Italy, ca. 161 CE. Marble, approx. 8’ 1 1/2” high. Vatican Museums, Rome. Conventions of lower class art being used!

A power symbol: these were Often placed in central locations To proclaim Imperial power This will become a universal Power symbol in the middle ages Here-the emperor is much larger Than the horse… Figure 10-59 Equestrian statue of Marcus Aurelius, from Rome, Italy, ca. 175 CE. Bronze, approx. 11’ 6” high. Musei Capitolini, Rome.

Psychology in the Face-the inner Individual revealed Figure 10-60 Portrait of Marcus Aurelius, detail of a relief from a lost arch, Rome, Italy, ca. 175–180 CE. Marble, approx. life-size. Palazzo dei Conservatori, Rome.

Commodus as Hercules

Paradigm shift: Belief in burial practices changes Figure 10-61 Sarcophagus with the myth of Orestes, ca. 140–150 CE. Marble, 2’ 7 1/2” high. Cleveland Museum of Art, Cleveland. Paradigm shift: Belief in burial practices changes as a result of different religions’ influences…. Regional differences manifest in the trends of this Industry that sees early use of “pattern books” Figure 10-62 Asiatic sarcophagus with kline portrait of a woman, from Rapolla, near Melfi, Italy, ca. 165–170 CE. Marble, approx. 5’ 7” high. Museo Nazionale Archeologico del Melfese, Melfi.

To commemorate the dead-illusionism: These were often painted while the Subject was still alive…. Figure 10-63 Mummy portrait of a man, from Faiyum, Egypt, ca. 160–170 CE. Encaustic on wood, approx. 1’ 2” high. Albright-Knox Art Gallery, Buffalo.