Art of ancient Rome

The Roman art is the Art produced in the territories of the ancient Rome, since the foundation of Rome until the fall of the Western Empire. Relatively poor at its origins, it takes a true rise in contact with the Greek art which it is satisfied a long time to imitate, and finds new influences in the areas subjected by the Empire.

After the fall of the Empire, Roman art is prolonged in the Byzantine Art and the medieval Christian art. It strongly influenced the artists of the Renaissance then Classicisme, Néo-classicisme and finally of fascistic art .

Roman art was scorned a long time by the Histoire of art, particularly dedicated to the worship of Greece at the XIXe century.

General introduction

Y-a it a Roman art ?

The Romans themselves put the question. Cicéron and Horace, under different conditions, says that there is no Roman art. If the Romans inherited the political power and military, they are the Greeks who very invented in the field of Article the Romans copy Greek works. For Pline Old the, it has there one art, the Greek art, to which the Romans are only the heirs. In the Roman system, art is " réservé" with the Greeks, the work of art does not have a value. And that will pose problem with Cicéron when it must defend the Sicilians against their governor Verrès. This last is indeed shown of flight of works of art, but as these works do not have a value for the Romans, it does not have there reason to complain! Cicéron will have to thus show that they were statues of worship. The idea according to which art is reserved to the Greeks is thus fundamental. The Romans do not bring an innovation; their artistic vocabulary is the certified copy of that of the Greeks (for example in architecture, the Greek guns become Roman). The Romans reproduce. For the sculpture, of all the sculptors types of the Antiquity, one can allot one new model to them (except for the type of the armoured emperor): the portrait in sculpture in the round of Antinoüs, friend of the Emperor Hadrian. But generally one notes a quasi-total absence of creation. The Romans are the champions of the Copie. One found in the gulf of Naples of the workshops of copyists where various members copied were assembled.

For much, Roman art is a prolongation of the Greek art. A distinction should however be made. In Roman art, which is Greek it is the vocabulary (models of arm…), and what is Roman it is syntax (way of arranging the elements to do something of it again). Let us take the example of the art of the portrait at the end of the Republic. One of the great data of the Roman sculpture of this period is the concern of realism: one represents the individual with all his defects (wrinkles…) so that it is recognizable. But in parallel, the Romans discover the development, the heroisation, through a representation of the naked and young body. That thus gives, in the case of one carried of general for example, a face wrinkled and old (sign of serious and wisdom) on a body of beautiful young man (heroisation). Such a mixture is an unknown type in the Greek world. Roman art is an art less spontaneous, less free than Greek art, but the political message is more important, which gives to Roman art its originality.

Place de l' artist

In the Roman world, the artist has a very secondary place. Very few artists left their name: four or five, of which an architect (Vitruve, which wrote the only treaty of architecture of the ancient world " Architecture" , but which nothing built forever except perhaps a basilica). Why this absence of names? The general design of a work of art is to be put in connection with what the silent partner wants. It is him which defines the program, which pays, and which puts its name on work. On the monuments, the name of the silent partner precedes the word fecit (" made faire"). The only signatures available are those of the silent partners, the artists remain always anonymous.

Relationship between Greek art and Roman art

From a historical point of view, the Romans always had evil to be located. One of the key elements is the following: the Romans are the heirs to Troy since Enée (groom with the one of the girls of Priam) flees with the crowned objects of this city until Rome. Therefore, basically, the Romans are the enemies of the Greeks. The Romans annex the areas controlled by the Greeks. The latter are thus in a total political dependence. Under these conditions, Greek intellectuals decide to collaborate, and to justify the fact that the Romans " barbares" the Greeks order. Polybe (II°s.AC), made captive by the Romans, writes a history of the the Mediterranean whose conclusion is the following one: the Romans have all the reasons to control the Mediterranean. Other Greek writers (a little later) want that the Greeks draw their pin from the play in the Roman Empire. For Denys d' Halicarnasse, the Greeks must include/understand what are the Romans, to have of good places in Rome. He writes a Roman history in which the Romans are Greeks, and develops a whole argumentation. Latin becomes a Greek dialect; from this point of view, all that makes the Romans becomes Greek. Therefore, to summarize, the Romans are enemies but the Greek literature makes Romans of the Greeks.

The Romans appreciate this and a whole Roman literature goes in this direction. For Horace, the Greeks were beaten, but Greece overcame Rome by its Article Of the blow, Roman art is Greek. In the Roman world, it adopts an attitude there at the same time assimilation and of fight.

In the Roman political thought, the Greek world is regarded by certain as a degenerated world. In the Roman system, the Censure was charged to classify the citizens of richest with poorest, and to check the respect of the moralities. The critic could degrade a citizen who behaved badly. Caton known as " Censeur" had the reputation to drive out higher classes these citizens " dégénérés". And one of the criteria of degeneration was the fact that these " people; played Grecs". prohibited Caton which one speaks Greek; he wants to draw aside any mark of the Greek world on the Romain Empire. A whole current of thought goes in this direction: one rejects all, even Article However, Caton spoke Greek, and he even invented a new type of building to which he gave a Greek name: the Basilica (of basileus , the king)! That shows well us the ambiguity of positioning of the Romans compared to the Greek world.

When Rome becomes a city, the king Tarquin calls Greek artists. In the idea even of the Romans, there was this contact without which Rome could not have created the least monument.

The situation changes when the Romans become the Masters of the world. They are then in direct contact with Greek realities. Follows one colossal period of plundering. When the Romans make their conquest, Greek art is almost completed. The Romans thus have a total contact (antiquated, traditional and hellenistic works) with this Article Their initial reaction is to accumulate spoils for its commercial value (and not its artistic or esthetic value). The Romans collect, the temples of Rome grow rich. The generals keep for them a share of these spoils. One compares by the value. And thus the Romans create the market of art, by their taste of the collection. Each work is estimated from a pecuniary point of view, the Romans establish catalogs of works with classifications by price. Works are exchanged, were monnaient, are stolen… The contact of works turns into to Romans the best specialists in Greek art.

The Romans try to find with the objets d'art a utility independent of their statute of origin. A beautiful young man with a raised arm becomes thus a perfect candlestick, the medallions are re-used…

But the Romans realize that plundering is not moral. In addition, it does not remain much any more of cities to plunder… To cure that, the Romans become copyists (because they cannot have the originals any more). One could study these copies like Roman art.

Roman art is thus an art which takes its rise in contact with Greek art. It is an eclectic art. But gradually, the Romans are detached from these eclectic models. In the III° and IV°s ap JC, Roman art is able to give up the heritage of Greek art. One can thus say that Roman art is worked out by decantation.

A Roman art or Roman arts?

When one about Roman art, should one speaks consider only the monuments of Rome? The Maison Carrée of Nimes: Roman or Gallo-Roman art?

For a long time, it was imagined that Rome invented the models and that they were diffused in the provinces (debased Roman art), and that occurred in an one way. There was thus the idea of a degeneration of the center towards the periphery.

However Rome is a town of interdicts. The Romans do not like the innovation. The word nova LMBO indicates the innovation; it is a dépréciatif word, synonymous with revolution, i.e. what there is the worst for the Romans. For the Romans it is necessary, even in the field of art, to remain in the tradition. Actually any exchange. These changes are carried out in the provinces, far from Rome. And they return to Rome with a certain seniority, and are thus accepted.

Production

Sculpture

See the detailed article: Roman Sculpture
The Roman sculpture largely took as a starting point the Greek models , in particular of the Bronze S. It is thanks to Roman copies that one knows many Greek originals now disappeared.

As opposed to what the first archeologists, the Roman statues thought, just as Greek were polychrome. The Romans used either of painting or the mixture of the materials (marble and porphyry for example) which was used almost only by the Romans because of his cost. Even if it takes as a starting point the Greek sculpture, the Roman sculpture has its characteristics like the invention of the bust, and the democratization of the portrait. Moreover, it knew to produce an interbreeding of the styles in the areas under imperium which had already their own manner, like the Eastern Egypt or provinces

Structure

See the detailed article: Roman Architecture
Rome developed a considerable architectural know-how. Amphitheater S, theater S, triumphal arches, Basilica S, Aqueduct S, Roman, gone Thermal baths ( Macellum ) and temples are built out of stone, cement and bricks, are characterized by their systems of Voûte S: composites or Tuscan

Mosaic

See the detailed article: Mosaic
The mosaic (of the old Greek μουσεῖον mouseion by the Latin opus musivum , “stone equipment which belongs to the Muses”) is a decorative art largely used in ancient Rome, for the interior decoration of the houses and the temples. It uses marble and stone fragments assembled using coating, to form reasons or figures.

It is in particular associated with Pompéi or Herculanum.

Several processes coexist. More known, the opus tessellatum , employs like tesselles abacules , i.e. small stone cubes, stuck either directly on surface to pave, or on an intermediate coating. There exists also the Opus sectile , which uses fragments of unequal sizes of stone or Marbre.

Three schools are distinguished:

the Roman school, characterized by linear drawings, on neutral funds.

the Syrian school (of which the principal center of production is Antioche). The forms used are simplified, and the proportions are badly respected.

the African school (with Carthage for principal center) which develops an acute sense of the prospect, modelled, and a rich person palette.

The topics of the Roman mosaic are primarily mythological or animalist.

Painting

Our knowledge of the Roman Peinture is due mainly to the safeguarding of the sites of Pompéi and Herculanum, after the eruption of the Vesuvius in the year 79 of the Christian era. There remain nothing the Greek tables carried in Rome in IVe and IIIe centuries and paintings on wood produced in Italy. Pline says explicitly towards 69-79 apr. J. - C. that only true painting lay in paintings on wood and that it had about disappeared at its time, with the profit of the murals which testified more richness of the owners than to an artistic research.

It is necessary moreover distinguish painting from direct hellenistic tradition and Roman painting. Hellenistic painting - continued by Greek painters - grows blurred gradually, replaced by Roman painting. Exit of the tradition medio-italic, it repeats " more and more painfully " Greek repertories until IIe century apr. J. - C. From IIIe century, the advent of a new pictorial civilization renews the topics. We have indirect testimonys of this revival in the mosaics of the time and the first miniatures Byzantine.

Mural

One traditionally distinguishes four periods in the mural, which follow the classification of A. Mau, a German archeologist.

First style

The first style - known as of the incrustations , of use of the middle of the 2nd century until in 80 av. J. - C. - is characterized by an evocation of the marble and the use of bright colors. This style is a counterpart of the Eastern palates of the Ptolémées, whose walls were truly encrusted with stones and marbles. One also finds reproductions mural of tables Greek.

Second style

In the second style - or architectonic period , which dominates the 1st front century J. - C. - the walls are decorated by great architectonic compositions in Trompe-l'oeil. This technique, which consists in highlighting elements, in order to make them pass for realities, for example, by drawing a column which will pass for an element of the architecture of the building where work is exposed, was very much used by the Romans. At the time of Auguste, the second style evolves/moves. False architectures open the walls with broad funds dedicated to compositions. A structure inspired of the stage sets is repeated, based on a large opening in the center flanchée of two smaller on the sides. In this style a tendency illusionist continues, with a " défoncement" walls by false architectures or sights.

Third style

The third style is the result towards 20-10 av. J. - C. of one reaction to the austerity of the previous period. It leaves the place to the decorations more figurative and coloured with an especially decorative aiming and often has a large smoothness of execution. One finds it in Rome up to 40 apr. J. - C., with Pompéi and its surroundings until 60.

Fourth style

Lastly, the fourth style - or fantastic style - appeared towards 60-63 after J.C., carries out a synthesis between the second style illusionist and the decorative tendency and figurative of the third style. Finding the techniques of the perspective style, it overloads ornaments. A typical element of this phase is the use of figures detached of the context of a table, and integrated in an architecture close to the stage sets.

This fourth style had a great importance in the history of Article After the fire of Rome into 64, Néron makes build a large palace named the Domus aurea . Following its suicide in 68, the grounds which had been requisitioned are returned by the senate with the public use and one builds new buildings in which certain rooms of the palate remain. These big rooms, become underground, are redécouvertes with the Rebirth by artists who carry out copies of the murals. Because of their origin, these works are called " grotesque " and their strangeness gave another direction thereafter at the end.

Pline the old one presents Fabullus like one of the principal painters of the domus aurea .

“more recently lived also the Fabullus painter, with the bright and fluid worthy and severe style while being. With its hand was Minerve, which, on some side that it was contemplated, had the glance directed towards the spectator. He painted only a few hours per day, and that with dignity, because, even on its scaffolding, he was always covered toga. The Gold House was the prison of its art”.

One can see in this succession of styles the tension between the tendency illusionist, which comes from Greece, and the decorative tendency which is the reflection of the Italic tradition and the influence of the East.

A variety of subjects

Roman painting presents a large variety of subjects: animals, died natures, scenes of everyday life. During its hellenistic time, it evokes the pleasures of the countryside for the fortunate townsmen and represents rustic shepherds, herds, temples, country houses and landscapes rural and mountainous.

The principal innovation of Roman painting compared to Greek art would be the figuration of landscapes, with the contribution of a perspective technique. The art of the ancient East would have known the landscape only like decoration with civil or military scenes. This thesis, defended by Franz Wickhoff makes debate. It is indeed possible to see in the Critias of Plato (107b-108b) a testimony of Greek know-how for the representation of landscapes:

" if a painter who paints the ground, of the mountains, the rivers, the forests and the sky entire with what it contains and what is driven there, is able to reach some as little as it is the resemblance, we are satisfaits" at once;

Triumphal paintings

As of IIIe front century J. - C. a particular kind of painting appears, the " paintings triomphales" , reported by literary testimonys. These are paintings that one carried in the procession of the triumph after the military victories. They represented episodes of the war, the cities and the areas conquered. Summary charts were illustrated to indicate the high places of the countryside. Thus Flavius Josèphe describes the painting carried out at the time of the triumph of Vespasien and Titus after the catch of Jerusalem

"The war was illustrated there in many episodes, forming as many sections which offered the most faithful representation of it; one could see a devastated prosperous region, whole battalions of enemies cut in parts, the ones reducing, the others taken along in captivity: ramparts a surprising height reversed by machines; solids conquered fortresses; the enclosure of full cities basic inhabitants reversed in roof: an army spreading itself inside the walls; a whole streaming ground of carnage; supplications of those which are unable to support the fight; the fire put at the crowned buildings; destruction of the houses falling down on their owners: finally, after all this devastation, all this sadness, of the rivers which, far from running between banks of a cultivated ground, far from refreshing the men and the animals, pass through an area completely devastated by fire. Because here what the Jews were to suffer while engaging in the war. The art and great dimensions of these images put the events under the eyes of those which had not seen them and made some like witnesses. On each one of the scaffolding one had also been reproduced the chief of the city taken by storm, in the attitude where it had been done prisonnier."

These paintings disappeared, but they most probably influenced the composition of the historical reliefs present on the sarcophagi of soldiers, the Arc of Titus and the Colonne Trajane. These testimonys stress the importance of the landscapes, which take sometimes the aspect of perspective plans.

thus described the oldest painting found in Rome, in a tomb of Esquilin:

" It represents a historical scene, described on clear bottom, in four superimposed zones. Some characters are indicated, such Marcus Fannius and Marcus Fabius. Those are greater dimensions than the other figures. In the second zone, on the left, a city surrounded by notched walls, in front of which a warrior is held of greater dimension, which carries an oval shield and a surmounted helmet of a vertical feather on each side; close to him, a man out of short toga, armed with a lance. Around these two figures, one sees soldiers, of reduced size, in short tunic, armed with lances. In the lower zone is held a combat, where a warrior, carrying an oval shield and a helmet with two feathers, is represented larger than the other figures, whose armaments make it possible to suppose that they are Italics, probably of Samnites."

The identification of the episode is dubious. Among the assumptions, Ranuccio retains a victory of the consul Quintus Fabius Maximus Rullianus during the second war against Samnites into 326. The representation of the characters with sizes proportional to their importance is typically Roman, and is found in the reliefs of plebeian art. This painting is a " incunable" triumphal painting, and would have been carried out towards the beginning of IIIe front century J. - C. to decorate fall it from downward with Quintus Fabius.

Sources

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