AP Art History Chap 10 Roman Sculpture

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AP Art History Chap 10 Roman Sculpture

Head of a Patrician. Republican Rome. Otricoli, Italy. It is a veristic portrait, that is, super-realistic with each rise and fall, bulge and fold of the surface of the face represented. It is in bust form too, because the Romans of the Republic believed elerldy showed power. gravitas (serious demeanor)* VERISM ** characterizes republican culture
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Head of a Patrician. Republican Rome. Otricoli, Italy. It is a veristic portrait, that is, super-realistic with each rise and fall, bulge and fold of the surface of the face represented. It is in bust form too, because the Romans of the Republic believed elerldy showed power. gravitas (serious demeanor)* VERISM ** characterizes republican culture
Roman General. Republican 50 BCE. Curiass: leather breast plate. marble.
Augustus Primaporta. Early Empire. Imperial rome. Primaporta. Also, the sculptor got the idea of Augustus's holding his arm out to his troops as he addresses them from the orator Aule Metele. , a reminder that Augustus is from divine lineage being a descendent of Julius Ceasar. This Primaporta statue served as a vehicle for political propaganda. never ageing son of god. contraposto. cupid on dolphin shows that he is the son of venus. 20 BCE
Bust of Livia. Augustus' 2nd wife. eternally youthful. Faiyum, Egypt. Marble. 1st Century.
Portrait bust of Flavian woman.Early Empire. Imperial *Rome* .It was during the reign of the Flavian emperors hairstyles of aristocratic Roman women became most flamboyant, Such an elaborate coiffure required the attention of an ornatrix, a slave specially trained in the art Ovid scolded women not to neglect their hairstyle, choosing the one which best suits them, even though every day brings a new fashion. Any deficiency, too, can be remedied by dyeing the hair or buying the tresses of another. Marble. drilled the curls. c. 90
Portrait of Vespasian. Early Empire. Rome.This naturalistic portrait of the emperor Vespasian shows the lined complexion of this battle. Vespasian became a trusted aide of the emperor Nero. Together with his sons Titus Vespasian conquered Judaea, celebrated with a magnificent triumphal procession through Rome. known for his military skills.c. 79. Marble
High Empire. Hadrian as general Bronze. Trojans adopted son.Israel. c. 138. mature Bronze General
Equestrian statue of Marcus Aurelius. High Empire. Rome.gilded bronze. overall theme is one of power and divine grandeur the emperor is over life-size and is holding out his hand in a gesture much like that in the Augustus' portraits. signify mercy as some assert that a fallen enemy may have been sculpted begging for mercy under the horse's raised hoof. meant to portray the Emperor as victorious and all-conquering. shown without weapons or armor, Marcus Aurelius seems to be a bringer of peace rather than a military hero, for this is how he saw himself and his reign. patina- rusted. preserved necayse thought to be constantine. 175 CE
Mummy Portrait. encaustic painting. Faiyum, Egypt. Tempura Painted. 160 BCE
painted Portrait of Septimius Severus. 200 BCE. Tempura (egg-based) on wood. Tondo- circular format. sons were Geta and caracalla. Damntatio Memoriae- political tool to erase memory.
wrong. painting of family. man darker color.
Late Empire. Portrait of Caracalla. Marble. Mean, ruthless emperor. shadow in eye to look mean. show character
Ludovisi Sarcophagus. Late Empire. Rome. marble. The front of the sarcophagus shows a battle scene between Roman soldiers and Germans. The Germans have distinctive clothing, beards, and hairstyles that distinguishes them from the cleanshaven Romans. very chaotic. 260 CE
Portrait of the four tetrarchs. porfur: purple marble. Late Empire. Rome. not to capture individual personalities, but to represent the very nature of tetrarchy itself four equal partners in power.larger entity that is tetrarchy. All four of these guys is clad in cuirass and cloak and each grasps a sheathed sword in the left hand. With their right arms they embrace each other in an overt display of concord, The figures have big cubical heads and squatty little bodies. The drapery is schematic and the bodies shapeless. the human figure is once again conceived in iconic terms and loss of idealism & naturalism, individuality & personality
Saints Peter Good Shepard 400 CE
Sarcophagus of Junius Bassus. 360 BCE. Rome, Italy.


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