Equestrian Statue Of Marcus Aurelius Analysis

The life-size bronze statue Aulus Metellus (5’11”), 80 BCE, who was a Roman official who appears older in age has name of the portrait inscribed in the hem of his robe. Metellus spoke to the people, assuring them that their government was working in their interests. Aulus Metellus is a remarkable statue made of bronze, with now hollow eyes. Artists and sculptors of the Republican period were keen on creating believable images based on careful study called naturalism. The republic was drawn to accurate and faithful portraits of their leaders and were captivated by the confidence in the Republic by these representations. Due to its naturalism and verism, Aulus Metellus has the ability to interact with the viewer. The life size statue stretches

The sculpture was “originally cast using the lost-wax technique, with the horse and rider cast in multiple pieces and then soldered together after casting” (Becker 2). The artist was able to create the appearance of motion in this work of art. The horse that Marcus Aurelius sits upon is a superb example of “dynamism captured in the sculptural medium” (Becker 2). The position of the horse’s forelegs, the right is raised and bent at the knee while the left is firmly planted on the ground, as well as the musculature of the horse’s body being modeled carefully, and the head of the horse slightly turned to the right with its mouth partially opened results in a talented interpretation of motion (Becker 2). Marcus sits astride the horse, with his left hand positioned to guide reins that are no longer present (Adams 231). Appearing on the left hand is the senatorial ring (Becker 5). Capturing the speaker characteristic, that partially defined who Marcus Aurelius was, the artist extended the right arm away from the body in the “conventional gesture of an orator” (Adams 231). Signifying his status as a philosopher, his beard imitates the Greek style by covering his cheeks and upper lip while being longer at the chin region and divided down the center (Becker 4). The artist sculpted an oval shaped face with a distinctive arc over the forehead. Using heavy

In the early official and private portrait of the Etruscan- Roman tradition, the achievement of sculpture from the identity of the ideal Republican demonstrated motivation behind the virtus, veristic, and gravitas qualities. The Etruscan Roman portrait sculpture of the “Patrician Carrying Portrait Busts of Two Ancestors” is a life-size marble statue that was dated to the period of the Emperor Augustus somewhere at the end of the 1st century BCE or the beginning of the 1st century CE, reflecting the practices that have originated from the past by Polybius.

This paper in particular discusses two of the statues exhibited at the Power and Pathos exhibit at The Getty Center in Los Angeles. It analyses and compares the statuette of Alexander the Great on

Art encourages me to look at the world differently. The statue makes me think of how people were portrayed in the imperial period. The story behind the copy of the original statue of Barberini Suppliant is compelling. It is of a young woman who has been taken advantage of. It is a bold work of art. The original is more detailed and draws more attention then the one I analyzed but both works show and portray different stories. I believe that they made minor changes to the copy but leaving out the body of the woman made it mysterious and hard to analyze. Greek art had a major influence on Roman art and I see elements within these two works. These two works of art emphasized the importance of details. Without details there is a lack of meaning. Without looking at the original work I would not know how to analyze the copy. It looks like a completely different work of art. These two works of art have less in common than I thought. They come from the same time period but they are used and looked at in different

Comparing the two statues reveals that there are striking similarities between them. Looking closely at the spear-bearers stance shows us that it is using a contrapposto stance, which is an Italian term that means counterpose. The spear-bearer using this pose, is showing to us a diagonal between tense and relaxed limbs on the statue itself. The overall style of the Prima Porta is Hellenistic, despite having tendencies towards the realism of Roman portraiture.

Amid the Hellenistic period from the passing of Alexander the Great in 323 B.C. until the foundation of the Roman Empire in 31 B.C., the medium of bronze drove imaginative advancement. Sculptors moved past Classical norms, supplementing accustomed subjects and romanticized frames with reasonable renderings of physical and passionate states. To achieve this, using the discovery of bronze for art, they start to create pieces of art composed bronze and other alloys. Bronze—surpassing marble with its rigidity, intelligent impacts, and capacity to hold fine detail—was utilized for element organizations, stunning showcases of the naked body, and realistic articulations of age and character. Cast from combinations of copper, tin, lead, and different components, bronze statues were delivered by presenting honorific representations of rulers and natives populated city squares, and pictures of divine beings, legends, and mortals swarmed havens. The Seated Boxer and the Statue of an Athlete are two sculptures that encompass the complete aspects of the figures through representation and materiality.

Marcus was born into a rich family that was involved in politics. Both of his parents died at an early age, and Marcus lived with his grandfather. Marcus was a great student and learned Latin and Greek, but showed a lot of interest in stoicism, which is a philosophy about fate and reasoning. Marcus attracted the interest of Emperor Hadrian and earned the nickname Vessimus, which means most truthful. Emperor Hadrian appointed Titus Aurelius Antoninus and made Marcus his successor. This made Antoninus his adopted father.

The book The Clash of Gods: A Reinterpretation of Early Christian Art reevaluates fundamental pieces of Late Antiquity art, facing off with what author Thomas F. Mathews dubs the “Emperor Mystique,” an inclination to link images of Christ in this period to imperial iconography. In the first chapter, author Thomas Mathews makes a lofty claim: Late Antiquity art blanketed under the Emperor Mystique must be reassessed since art historians have tawdrily abused the theory to oversimplify Jesus’ iconographic identity. The author structures his chapter one argument into three points. First, he criticizes the idea of an unbroken art narrative consisting of a gradual flow from pagan art to Christian art, resulting in the Emperor Mystique mix of imagery as a key transition point. Then, he considers the Emperor Mystique’s prevalence in Late Antiquity. Finally, he moves on to the art historians chiefly responsible for the theory—Ernst Kantorowicz, Andreas

It’s often given the description of homely. People want to bestow upon you a feeling that on your first visit, you’ll fall in love (Trust me, you won’t). There are many roads leading into the small town of Middleville. Some twisting by the river, others curving around the valley. Some stretching for miles over the never-ending farmland. And that’s all the area is. Farmland, interrupted by a school and a village that is barely big enough to see on a map.

According to Paul Zanker’s ‘Roman Portraits’, public sculpture included honorific portrait statues of political officials erected by the Senate in the Roman Republic. These statues were typically erected to celebrate a noted military achievement, usually in connection with an official triumph, or to commemorate some worthy political achievement, such as the drafting of a treaty. A dedicatory inscription detailed the subject’s honors and life

On the images of the sculptures of a “Warrior” and “Alexander the Great” implies the progress of the Greeks to represent their power through sculptural portraits. However, the sculptures of a “Warrior” and the head of “Alexander the Great” present some difference based on the representation of power and the composition of these works of art.

A comparison of the two funerary monuments, The Stele of Hegeso and the Tomb relief of the Publius Gessius, will offer the audience insight into the funerary techniques and styles of the Greeks and Romans. Thus,

Also, the spoils were once gilded to make them stand out. By showing the worth of the spoils of this battle, the viewer sees Rome as powerful and successful in battle, this was the aim of the artist of the Arch of Titus. The numbers of people in this relief panel also present Rome as mighty. Soldiers are overlapped and carved at different densities. There are multiple levels of heads, giving a sense of fullness and business to the sculpture. The amount of people on this people makes Rome seem intimidating and great.

“Here’s the heart of the matter: The essence of social media is knowing your audiences and engaging them in something they love”(cite). Social Media has become one of the most influential and powerful sources for many companies. Social media has evolved throughout the years. We are in the year where social media has become a big part of our lives. Overall, social media has truly impacted the beauty industry. The beauty industry has grown over the years and this past year has enormously increased. Due to social media growth, it has influenced the beauty industry to change its concepts of beauty today.