Greek And Roman Art History Response

Greek and Roman Art History Response

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Karen Carrasco

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1.Greeks, at first, were not sympathetic towards art and beauty, and this is the reason they had different approaches in perceiving beauty in different objects. They were not keen to appreciate this sense of picturesque beauty and they had no place of it in their art and literature. However, this concept of aesthetics changed when the Alexandrian forces crept in and Geek started to appreciate beauty in every object they made. This became impetus for the flourishing of art and craft in Athens and the Greeks became expert in skilled craftsmanship. So, the Greek era has several key phases in the flourishing of art and history such as: Geometric, Archaic, Classical and Hellenistic. They made amazing temples, sculptures and the paintings. Their classical art became popular in the world for the sense of glory it exuded in its essence in those eras. Greek art represented all their glory and civilization in substance. They had classical period and the ushering of Hellenism. This is the chief characteristic that was later borrowed by the Roman empire.

3. Roman imperialism is most significant when it comes to studying world history and its transformations. It symbolizes the magnificent side of roman empire when it attained glory in the world. Romans are well-known for their art and architecture and their contribution in the international code of morality. They were the one who added to the glory of the predecessor Greek empire and further improved its unique ideas. As it was the order of day then, the stronger power had complete control over the weaker and so is the case with Roman giants. They exercised complete control over all their subjects and exercised authority over weak units. This is the idea that is reflected in the architecture of pantheon. Its giant and huge in outlook. It is a temple that represent the glory and magnificence of roman lords. It portrays the roman gods as they were perceived to possess several magical powers. Roans had their own roan mythology and this gave birth to their own innovation in roman art and history.

5. These two objects represent the two different periods of art in history. The dying Gaul is the symbol of Hellenistic period which comes after the death of Alexzander, the great. As Hellenism became the national image of most-civilized Greeks that time, so it reflected the sympathy and empathy of them towards others. This dying Gaul shows the understanding and love of man for his loved ones. On the other hand, the dying warrior is the manifestation of ancient classical period art and history. The early classical period had archaic form of art is the dying warrior is the reflection of that ancient outlook in Greek art ADDIN ZOTERO_ITEM CSL_CITATION {"citationID":"991H08HH","properties":{"formattedCitation":"(Cohen 2010)","plainCitation":"(Cohen 2010)","noteIndex":0},"citationItems":[{"id":29,"uris":["http://zotero.org/users/local/ZD9MNZ2P/items/CDZSGH9Y"],"uri":["http://zotero.org/users/local/ZD9MNZ2P/items/CDZSGH9Y"],"itemData":{"id":29,"type":"book","title":"Art in the Era of Alexander the Great: Paradigms of Manhood and Their Cultural Traditions","publisher":"Cambridge University Press","number-of-pages":"425","source":"Google Books","abstract":"In this book, Ada Cohen focuses on art produced in Macedonia during the late Classical and early Hellenistic period, which coincides with the reigns of Philip II, his famous son Alexander the Great, and their immediate successors. Although inspired by traditional Greek themes and ideals, this body of artwork articulated specifically Macedonian aspirations. Cohen focuses on three key \"masculine\" themes - warfare, hunting, and abduction of women - exploring their visual and conceptual interconnections. She demonstrates their preoccupation with the visual celebration of violence and studies the analogies they draw among the ideological categories of \"enemy,\" \"animal,\" and \"woman.\" Simultaneously historical and thematic, Cohen's text is structured around select paintings and mosaics from northern Greek sites, such as Pella and Vergina, and from both secular and funerary contexts. She also examines monuments from other ancient contexts and in other media to illuminate specific questions of style, theme, and meaning.","ISBN":"978-0-521-76904-4","note":"Google-Books-ID: nX8F_ZV83vUC","title-short":"Art in the Era of Alexander the Great","language":"en","author":[{"family":"Cohen","given":"Ada"}],"issued":{"date-parts":[["2010",8,30]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"} (Cohen 2010).

6. Parthenon is the temple that was constructed for the roman goddess whereas the Doryphoros, is the human form that was built by the Greeks. Both are different in their era of construction as the Doryphoros was built in the early period of art around 450 BC where the focus was on making the amazing human form in art. The sculptors that time used to focus on creating beautiful and impeccable human features such as limbs, faces, features. But the Parthenon is different as the focus shifted on the giant architecture. I was constructed for the sake of their goddess Athena on 447 BC with gold and ivory ADDIN ZOTERO_ITEM CSL_CITATION {"citationID":"5LWNmhkE","properties":{"formattedCitation":"(\\uc0\\u8220{}Parthenon - Archaeology Magazine\\uc0\\u8221{} n.d.)","plainCitation":"(“Parthenon - Archaeology Magazine” n.d.)","noteIndex":0},"citationItems":[{"id":27,"uris":["http://zotero.org/users/local/ZD9MNZ2P/items/P9QVFB6T"],"uri":["http://zotero.org/users/local/ZD9MNZ2P/items/P9QVFB6T"],"itemData":{"id":27,"type":"webpage","title":"Parthenon - Archaeology Magazine","URL":"https://www.archaeology.org/issues/193-1511/features/3771-athens-acropolis-parthenon-restoration","accessed":{"date-parts":[["2019",5,20]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"} (“Parthenon - Archaeology Magazine” n.d.).

7. The depictions on the left is the testimony of the period in world history when people were barbarians and savage. People were beheaded and that got pictured in the art as well. It is the most archaic form of art as it signals the barbarity of the world that time and displays its loot and plunder. The headless sculptors were common that time and it showed that people were anything but kind those days. Whereas the sculptures on the left are the reflection that world moved from that barbarity to the civilized form of living. It also displays that people became more humane and civilized in their living. They started having families and it reformed the concept of life for them. The message is clear from this art work that humankind was once barbaric but then it became civilized with the inception of government and gods.

8. Ludovisi Sarcophagus is the epitome of the warring nations that time. It is the symbol that humankind was notoriously unkind and merciless. Moreover, human race preferred war to peace that time. This Ludovisi Sarcophagus reflects the roman aesthetics even when it comes to bloody war. It revolves around the battle scene and the military commander of the forces. Deep drilling and the skilled handling of the details is the manifestation of the roman superiority in art and architecture of that time. This Sarcophagus was between and romans and barbarians that time. So, it was reflecting the civic sense of romans and the barbaric nature of the others in this artistic modal.

Bibliography

ADDIN ZOTERO_BIBL {"custom":[]} CSL_BIBLIOGRAPHY Cohen, Ada. 2010. Art in the Era of Alexander the Great: Paradigms of Manhood and Their Cultural Traditions. Cambridge University Press.

“Parthenon - Archaeology Magazine.” n.d. Accessed May 20, 2019. https://www.archaeology.org/issues/193-1511/features/3771-athens-acropolis-parthenon-restoration.