Today we will show you through this interesting article the most outstanding aspects of the roman sculpture which had its central peak in the city of Rome between the VI centuries before Christ and V after Christ and much more in this post. Don't stop reading it!
What is Roman Sculpture?
First of all you should know that Roman Sculpture is a form of artistic manifestation that occurred in the Roman Empire which was a fairly complex movement and is demonstrated in the various sculptures made in addition to the development in architecture.
Being an example of Roman Sculpture the great triumphal arches, many say that it is a copy of the Greek culture but that is not entirely true.
Since it was developed and transformed according to the historical context of the emperors, giving fame and distinction throughout the Western world.
Origin of Roman Sculpture
Before the city of Rome was formed into a great empire, it was one of the most prosperous cities in the European world, both its squares and its buildings were decorated with the use of statues as well as reliefs.
But we know little about this part of history, which depends mostly on the history books that refer to the art of Antiquity, since we lack monuments from this stage of the Roman Republic.
Those that stand out in Roman Sculpture belong to the late imperial period where their works are carved showing great realism.
Thanks to literature, it shows us that the first influence that Roman culture received was Etruscan art, which is why many sculpture artists were invited to the city of Rome to decorate public buildings.
Among them is the temple dedicated to Jupiter Capitolinus that was built in the XNUMXth century before Christ then from the XNUMXrd century before the Christian era where the Greek influence prevails.
Many of these artists achieved stable employment satisfying the demands of the high Roman elite. It dates from the sixth century before Christ and comes from ancient Greece and the Etruscan culture.
Being one of the great artistic manifestations of great prominence of Roman society, coming to be compared with Hellenistic Greek sculpture.
Through the military clashes of the Roman Empire with the intention of taking new territories, they acquired new customs, including the Greek.
So they learned the skill in the development of Roman Sculpture among them specifically in the portrait genre, being a discipline that caused great fury in the high elites of Roman society.
Ascending thanks to the requests of these sculptures because through the portrait the expressions of each person who requested this Roman Sculpture were captured.
Background of Roman Sculpture
First of all, you should know that Roman Sculpture developed in the eastern part of the Roman nation, its epicenter being the city of Rome between the XNUMXth century BC. C. and Vd. C., thanks to the Etruscan heritage that came from the Greek culture.
In addition, the vast Roman Empire had direct contact with the Greek civilization in the Hellenistic period, so this culture was always a point of reference throughout the learning of Roman Sculpture.
They managed to develop unprecedented techniques that are part of the contribution of this society, as is the case of the portrait genre of great prominence in this civilization.
Creating excellent works of this unique art due to his developed technique and expressiveness in the details of the figures in Roman Sculpture, he was part of the decoration of huge public order monuments creating his own narrative style.
As the Roman Empire grew stronger, they added influences from other nations to their culture, such as the Eastern civilization.
Which made them move away from the Greek attributes with the intention of obtaining a simple but abstract Roman Sculpture, giving rise to Byzantine, Paleo-Christian art.
Even in the medieval era it was interspersed thanks to the period of classicism which allows the strengthening with the past to maintain the cultural, political and social connection in Roman Sculpture.
Well, although Christianity began, it could not put aside Roman Sculpture until the XNUMXth century when the political union was finalized.
But the classical models continued to be adapted to the new social, political and cultural order that was being established in the Roman nation.
For researchers, studying Roman Sculpture has been quite a challenge because its evolution has not been linear, an attempt has been made to clarify it since it is complex due to eclecticism.
Which is presented in the Hellenistic period in addition to other styles that were made in Roman Sculpture according to social classes.
Even within the same social class, certain distinctions are seen according to the need of each theme or situation that was carried out, demonstrating its complexity in Roman Sculpture.
Therefore, Roman Sculpture had great importance in the Renaissance and Neoclassicism, together with the Greek, consolidating a renewal of Western culture that still enchants world society today.
Types of sculptures that were developed
Among the types of Roman Sculpture that most stood out in the Roman Empire are the following:
- Exempt Roman Sculpture
- Funerary Roman Sculpture
- Honorary Roman Sculpture
- Imperial Late Roman Sculpture
Most relevant qualities of Roman Sculpture
As for the essential qualities of this unique art, we will explain in this article the most relevant aspects of Roman Sculpture, being the following:
It originates thanks to the traditions and customs of the Greek civilization as time passed, the Roman civilization transformed the topics to be used, distinguishing the field of narration from the historical events of the Roman Empire.
Well, through the Roman Sculpture, the description of the military confrontations was carried out, as well as the execution of paying honors to the emperors and generals for the battles fought.
The rise of Roman Sculpture is evidenced through the design of portraits which were frequently made using bronze or marble.
Based on the naturalism of the features of the subjects to be sculpted without the need to exaggerate their own attributes, since they wanted to observe their personality and character through Roman Sculpture.
Another characteristic of Roman Sculpture is that the creators of these works are unknown since they worked anonymously.
Many of his works were used for public use commemorations as well as in cults, taking a big step when Roman Sculpture gave rise to architectural buildings.
Therefore, the artists of Roman Sculpture made an effort to carry out details that today are highly studied by researchers who have managed to find new actions related to the Roman Empire every day that dazzle for their great political, military and social power coupled with the Fine arts.
Society and Roman Sculpture
One of the essential qualities of this society is that it was purely visual, since most of its inhabitants did not know how to read or write.
In addition, unable to engage in conversations in the Latin language that was typical of the high elite of the society of the Roman Empire, for this reason the Visual Fine Arts were part of the expression as a literary source.
For the other people who were part of the population, strengthening the ideology and advertising dissemination of the image of the most important personalities of the Empire thanks to Roman Sculpture.
Due to this, Roman Sculpture was part of a favored position in all public spheres, even in the private sector, being habitual to observe them in different parts of the city through their great skills and techniques on the part of the sculptors.
However, Roman Sculpture was used for religious themes, just as portraits had a similarity to the sacred, as in other ancient civilizations, so the Roman city did not escape it.
Being normal to show sculptures in different public places such as in the most humble homes, it was also common to observe Roman Sculpture in both bronze and marble in the Roman Empire, even in funeral urns.
As in reliefs related to architecture without forgetting the cameos which were designed in neat pebbles including terracotta statuettes as well as simple funerary plaques as well as funeral masks made of wax.
The latter were accessible at the cost of the most humble families of society, even in the coins there was evidence of a small relief of Roman Sculpture, being a way of transmitting art among the masses through money.
Therefore, Roman Sculpture was very common so that the subjects of the Emperor were from the religious, political, social and even economic spheres in a symbol of Roman civilization.
Demonstrating their high degree of hierarchy at the time of the death of one of the emperors, the heirs could make their sculpture as if it were a deity.
In addition to proclaiming the succession as well as building sanctuaries in his honor, but if he is overthrown, his images disappear from Roman society.
Therefore, the population knew visually the changes that were taking place at the political level just by looking at the Roman Sculpture.
In relation to polytheism, it was tolerant and promoted the various ways of observing theology in the world of that time.
It is the moment in which the Christian religion became the official doctrine, transforming the role of art, since this deity is known through the scriptures and its prophets.
But through the implement of Roman Sculpture the Church accepts the naturalistic representations of these images in addition to the decorations in the public sector.
In addition to the private thanks to the secular election as part of the history of art, mainly with the portrait at the end of the Roman Empire.
Investigating the Historical Context
According to researchers, the city of Rome may have been founded in the middle of the XNUMXth century BC. C. Through the fusion of various peoples from different areas of Italy from the town of Lazio in the XNUMXth century BC. of C
Many researchers comment that the city was created thanks to the Etruscans from the north, another legend comments on the origin thanks to Romulus and Remus, descendants of Aeneas, who was a hero of Troy and fed by a she-wolf.
Other investigations comment on the presence of other immigrant groups such as the Celts as well as the Germanic ones and it is evidenced in the physiognomy of some representatives of the high elite families.
Examples of these are the Flavios family, which is translated from Latin as blond, and the same as names such as Rufo redhead in Latin or Rutilio, which alludes to reddish hair in that same language in a civilization where dark hair predominated.
Etruscan culture in Roman Society
It corresponds to the XNUMXth and XNUMXth centuries BC. of Christ where the Etruscans take the central north of the Italian peninsula from there that some emperors have descended from this civilization. For what they influenced the Roman Sculpture as well as the Greek civilization in the warlike confrontations, the civilization not only faced the Etruscans but also appropriated their arts.
With these works of art they decorate the Roman city as the first sculptures date back to the XNUMXth century BC. of Christ where the Etruscan style predominated. One of the researchers on this interesting topic named Apollo of Veii comments the following about the Etruscans:
“… The Etruscans were experts in various sculptures, from funerary statuary and sarcophagi to monumental groups…”
“…They were masters in genre scenes that represented common life, town characters in characteristic activities….”
“…in the portrait artificers of the first order were shown… They developed a typology for funerary urns…”
“…There was a full-length portrait of the deceased reclining sometimes in the company of his wife, which was later adopted by Roman Sculpture…”
Even in the time of Augustus, the Etruscan tradition can still be observed to show the influence of this civilization on Roman culture despite having preceded the Hellenistic era in this culture.
The Hellenistic and Neoclassical periods
The Roman Empire was expanding towards the south of the European continent while the Greek culture was evolving towards the movement of classicism.
Being its maximum apogee in the IV century a. of Christ for which contact with colonies from Magna Graecia began, surprising the Romans thanks to their culture.
The Romans belonging to the high elites of the Roman civilization wanted to acquire works of art belonging to the Greek civilization.
Therefore, artists from this civilization were hired to decorate the Roman palaces paying quite high prices for the time.
At the time that Alexander the Great took possession of Greece, he transferred his artistic works to India, including Persia and Egypt, transforming their culture.
The art that they had known until then was impregnated with aspects from Greek culture and this culture will also integrate aspects of Eastern civilization, transforming their artistic works.
When this great conqueror Alexander the Great died, various kingdoms with similar local roots were created, being Galatia, Pontus, Bithynia, Paphlagonia and Cappadocia belonging to the Ptolemaic dynasty.
Which fostered new customs to the Greek culture for which the name of Hellenistic was taken to this fusion of cultures there was an interest in knowing what had happened in the past due to this they decided to found museums and libraries.
The best known being Pergamon and Alexandria, where biographies of artists of great social recognition were made, for which art criticism was developed through the transfer of travelers through the different regions that they were getting to know.
It allowed different styles in history that were taken by an eclectic vision, transforming into a secular attitude, preferring works of theatrical context where they interrelate through movement and have come to be compared with the Baroque movement.
Among the topics that were touched on were childhood, old age and death, as well as humor, which were not touched by Greek civilization and became part of it and the high elites of Roman society acquired a taste for collecting works of art.
According to the historical scope for the year 212 a. After Christ, the Roman Empire appropriated the city of Syracuse, which was under Greek control, located in Sicily.
Where Hellenistic art had spread so they took everything they wanted and moved it to the city of Rome replacing the Etruscan works.
With this, the settlement of the Greek culture in the city of Rome was carried out, but despite this there were some cases of opposition of this style.
One of them was Cato who was in charge of denouncing this looting as he considered it a dangerous influence for Roman civilization.
He did not agree that the high Roman elites enjoyed the statues of Corinth and Athens because he disdained the statuettes made with terracotta.
But the Greek art prevailed and was an excellent prize after the military confrontations being exhibited by the strategist generals.
For the year 168 before Christ one of the Roman emperors Lucio Emilio Paulo Macedónico after conquering the geographical area known as Macedonia.
Around two hundred and fifty floats were observed that carried statues and pictorial works to the Roman city. Other works of Greek culture that arrived in the city of Rome are the enormous Pergamon Altar as well as the Suicide Galata.
Even a work well known to us Laocoön and his sons came to the city of Rome to be acquired by the high elites of Roman society due to the victories in taking power from other nations.
When Greece was conquered by the Roman Empire, its artists were transferred to the city of Rome to make statues which were highly sought after among these sculptors, Pasiteles stressed that he was originally from Magna Graecia but took Roman citizenship.
His collection of sculptures was impressive worldwide, among the works Jupiter is attributed to him, which was made of gold and ivory.
In addition to other sculptures in bronze. Creating the school of Neoaticism in this movement that can be known by the term Neoclassicism.
The history of the Roman Empire
A transformation was made in Roman Sculpture thanks to the influence of Greek sculpture as well as the creation of a school to learn how to develop this style that caused a furor in the Roman nation at the end of the XNUMXnd century BC.
An example of this style is the Altar of Enobarbus, being a precursor of the imperial art that developed in the time of Augustus and was an offering to Gnaeus Domitius Enobarbus due to the conclusion of the military confrontation in the town of Brindisi.
It was built in front of the sanctuary of Neptune, both were built at the same time in relation to the altar, it was adorned with several frieze covers, among which scenes related to Greek mythology stand out, as well as cult images.
Where one of the priests is performing a sacrifice at the sides of this being, soldiers are observed in addition to other surrounding people to explain the Roman narratives.
Through the images made in Roman Sculpture since the majority of the population did not read and communicated through visual communication, which was a great success in the political model of Roman civilization.
Sculptures of Augustus
Emperor Augustus allowed the city of Rome to be the most important in this vast empire by being a center of culture in the Hellenistic style.
Just as it had been before in Alexandria and Pergamon, for which there was a large number of Greek artisans in the capital city, so the city of Rome made a great contribution to Roman Sculpture thanks to Emperor Augustus.
Among them the minting of coins where you can see miniature bas-reliefs. It is Julius Caesar himself who legalizes the practice of the Hellenistic style in the city of Rome.
In addition to the oriental techniques, allowing the faces of the rulers to be printed on the coins, since previously only images referring to deities or characters of great importance in Roman history who had already died were placed.
So the emperor Augustus took advantage of this publicity in the political sphere to impose his presence on the population through his visual image on coins.
Roman Sculpture was part of the large-scale social and political control system in the daily life of Roman citizens through the use of coins.
Ara Pacis in the period of Emperor Augustus
One of the first works related to Roman Sculpture is the Ara Pacis as well as another sculpture dedicated to the goddess Pax which celebrated the return of Emperor Augustus after his victories in the clashes in Gaul and Hispania.
This Roman Sculpture is adorned with various friezes and reliefs that represent the processions with allegorical scenes referring to mythology.
Scenes of sacrifices were even recorded, evidenced in one of these narratives is the scene referring to Tellus, which is Mother Earth in Roman Mythology, being very opposed to the Greek culture called Gea.
In Roman Sculpture it is characterized by a violent and irrational force that represents Nature as observed in Greek vessels, but in this Roman culture it is totally maternal, protects and nurtures the inhabitants of the Roman Empire.
As far as the maturity of the style of Roman Sculpture is concerned, a period of time was required for it, although the emperor Augustus proved to be a great ruler.
He also had the support of his people because from the First Consulate he was filled with honors that allowed him the title of emperor by the Senate.
But the people conferred on him the title of Augustus and during his government the Roman Empire was at a peak of prosperity and peace, and he also organized the nation from the political sphere.
In addition to the discipline of art, promoting his personal image as if it were a very normal advertising in his time. This is evidenced by the number of statues that can be seen in museums today.
Where a great variety of qualities of this great emperor is observed in the military, civil sphere and even as a deity among Roman Sculpture that stands out in relation to Augustus.
Augustus of Prima Porta is found, which is a similar design on Polykleitos' Doryphorus and shows how Greek culture was still used in his artistic works, demonstrating the emperor as the greatest hero of the patrons.
Julio Sculptures – Claudia
Another of the dynasties that can be mentioned where there was great enhancement of Roman Sculpture corresponds to that of Julio - Claudia where there was greatness in the Roman Empire.
From the government of the emperors Julius - Claudius to Nero, very few traces of Roman Sculpture are observed, only small funerary urns made of marble where they placed the ashes of their loved ones as well as the altars that were placed above the tomb as ornament.
Therefore, the decoration that is evident in this period of time corresponds to garlands very similar to those of Ara Pacis, which were carved with great fidelity to the aspect of nature where birds as well as other animals are observed.
Wall reliefs were made through terracotta with the intention of being able to decorate Roman houses and buildings where they used techniques of Greek ingenuity for the decoration of the facades.
In relation to the portraits in this period, a great realism is evident where the spirit of the Roman is personified through Roman Sculpture.
One of the most outstanding reliefs of this period corresponds to a great altar that was found in the city of Rome under what was at that historical moment the Papal Chancellery.
Where a procession is observed accompanied by ministers who carry in their hands some statuettes that are part of the offering of the sacrifices as well as other musical assistants and animals.
This relief demonstrates the passion of Roman Sculpture for narrating episodes in action and complementing them with background characters demonstrates the detail of these Roman artists.
In the artistic field, lighting effects were sought in addition to surface treatment, including new ways to express the narrative in this style.
Through the study of nature through finding the unknown regarding perspective, creating a genuine school in Roman Sculpture.
With regard to his achievements regarding the portrait genre that were made since the Republic, although innovative models were made in the semblance thanks to the influence on the Greek and Attic school.
Sculptures referring to the Flavian era
In what corresponds to the governments of the Flavian emperors such as Vespasian, Titus, as well as Domitian, great monuments of Roman Sculpture stand out.
Among which we can mention the reliefs that were made on the Arch of Titus with this narrative art, it was wanted to celebrate the victory over the Jewish war in the year 71 of the Christian era, but the artistic representation was made around the year 81.
Huge reliefs are shown, one on each side of the corridor, which is imposing in the center where the triumph is observed, in one of them the emperor is observed on his chariot where he is surrounded by companions and other Roman citizens.
As it must have been at the time he entered the city, in addition to other allegorical images, such as the one in charge of crowning the emperor, and the one in charge of driving the horses is the goddess Roma.
Demonstrating the historical narrative events through the reliefs of the Roman Sculpture with respect to the second relief, the soldiers are evidenced carrying the loot they have managed to obtain from the sanctuary of Jerusalem.
The same can be seen in the image of the musicians with their long trumpets evoking the moment of prayer as well as other elements that are not performed in three planes as in the case of the relief of Ara Pacis making a game between light and air creating the illusion that the figures generate movement.
Despite not knowing the laws of perspective that were discovered after several centuries, although these details are observed, the Flavian era allowed adding new elements to Roman Sculpture.
Portrait Techniques
Thanks to the portrait, Roman Sculpture makes its greatest contribution to this tradition, which was founded by the Greek civilization but the Roman culture evolved it, so it was divided into two aspects, each with its own patterns of transformation.
Well, from the time of the Republic the portrait was already highly valued as the years passed it became an idealistic classicist style.
While the other aspect corresponds to realism where the very own expression of Hellenistic Greek culture is used with respect to portraits, the bust and head were very common in Roman Sculpture.
Well, full-length portraits were very little in demand while head and bust portraits were very much in vogue in Roman culture.
Initiating an economic market in these artistic works of Roman Sculpture in regard to the Mediterranean Basin, since it was much more accessible to make this type of sculpture since, being the head or the bust, it was much cheaper than that of the complete body.
Also because they focus on the individual recognition that prevailed in this civilization, since the face that was observed in the head was for the Romans an aspect of great importance in regards to the portrait.
The materials that were mostly used in the elaboration of the portraits corresponded to bronze and marble. In the first instance, the eyes were colored with pigments, then they began to be carved by goldsmiths.
Well, there was a social recognition of individuals thanks to Roman Sculpture, as stated by the researcher Robert Brilliant in the following extract:
“…the specific identity of the subject, established by the particular features of the head, had been conceived as a symbolic appendage that did not take into account the integrity of the body…”
"...It seems that the sculptors created their heads as the main key for identification and inserted into a well-orchestrated resemblance in concept..."
“…if not in its intention, in the prepared scripts, with an opening for the face, common among XNUMXth century photographers…”
“…countless headless statues surviving from ancient times are similar to stages without actors…”
"...especially when the body was made by the helpers in advance, waiting for the head to be carved by the master sculptor..."
Through the rise of Emperor Vespasian, who founded the Flavian dynasty, a mixed style was created between these two aspects, idealism and realism, which the artists of the Julio-Claudia dynasty were already practicing.
Portrait Transformation
A transformation followed through the Hellenistic forms in conjunction with the realistic description of the subject to whom the Roman Sculpture was made.
This was also prevailing when it came to the emperor of the Roman Empire even the technique was extended through the innovation of drilling.
Which allowed complex hairstyles to be placed on the female faces of this time thanks to Roman Sculpture, which was a great boom in the high elite of Roman society.
At the time Trajan took office as emperor, transformations were made that prevailed over idealization, which took on greater preponderance in the time of Hadrian, since his Hellenistic tastes were well marked in Roman Sculpture.
On the other hand, in the portraits of Marcus Aurelius, the realistic quality is again observed, demonstrating the importance of the description of the faces, demonstrating great expressiveness, for which they have a great impact throughout the Roman territory.
Thanks to the oriental influence, in addition to the interest of the elements of geometric shapes, achieving in Roman Sculpture that the portraits present stylized and even abstract qualities.
In the empire of Constantine it reached its peak thanks to its monumentality, reminiscent of the classicism typical of the time of the great Augustus.
This style of Roman Sculpture would be the precursor of what we would later know as Byzantine art, representing the end of the golden age of this art in Roman civilization.
The Roman emperors used the portrait as a manifestation of power being part of their program in the political sphere and in the private aspect of Roman society the portrait genre was used for funeral services.
Even Busts where inscriptions were added where friends and relatives took care of the adornment of the altar in addition to the cremation urn.
This tradition was linked to the funeral masks made of wax or terracotta of the most illustrious ancestors in the funeral processions of the high elite of Roman society, demonstrating their great patrician lineage.
So these death masks were kept in the family sanctuary called the lararium together with busts made of terracotta, bronze and even marble.
It is one of the reasons that the Romans requested realism in portraits to protect the facial features of their loved ones thanks to Roman Sculpture.
Types of portraits in Roman Sculpture
According to the investigations carried out regarding Roman Sculpture, three ways of making portraits can be seen, being the following:
Toga Portraits where the figure of the emperor is sculpted with a toga and a mantle on his head to symbolize him before Roman society as the highest pontiff.
Thoracatos Portraits In this type of Roman Sculpture, the emperor is represented as a consul or as a figure of great respect for representing the military forces, due to which a breastplate is placed on him.
Apotheosis Portrait In this type of Roman Sculpture, the emperor is idealized as a deity or a hero, the upper part of his body is naked showing his magnificent sculptural body.
He wears a deified laurel crown on his temple as a great deity, being one of the richest representations of Roman Sculpture but not the most frequent to show.
To observe how the genre of the portrait was being transformed into Roman Sculpture through the details that were being generated with greater skill.
With regard to the shape of the eyes, the beard worn by the gentlemen and the hair worn by the ladies, fashion can be evidenced through the different hairstyles of the time reflected in the portraits made.
Evolution of the portrait in the Roman Empire
Regarding the period of the Republic, great realism is evident in the portrait, which is observed through the features of the features of the subjects to be sculpted, which were very accentuated.
These portraits of Roman Sculpture were distinguished by being a short bust where the head predominated, in addition to the neck, in men it was characteristic to wear short hair.
Portraiture at the time of Emperor Augustus
In this period of time, the portrait becomes an ideal, so the features are hidden since it is a political representation ascending to a state of perfection.
With regard to the hair in this period of time, it is still worn short but it looks longer than in the previous period, soft locks and slightly wavy curls appear in the Roman Sculpture that fit the proportion of the head.
The hair that falls on the forehead is similar to the tail of a bird known by the name of the swallow. Among the female portraits, the figure of Empress Livia wears her hair combed back, collected and on her forehead she wears a toupee or knot.
Portraiture in the Flavian Period
This happens from the first century and there is a splendor in the Roman Empire that prefers the style of realism to personify the statues without the need to accuse them.
As for the bust, this is a little longer, reaching to observe the men and pectorals of the people who requested it from the high elite of Roman society.
With respect to the hair, it bulges and wide curls are evident, accentuating the chiaroscuro, in addition, movement is used thanks to the fact that the neck begins to make a turn.
Julia the daughter of Tito imposes fashion thanks to the portraits the use of high hairstyles which are very striking in the high elite of Roman society.
Portraiture during the XNUMXnd and XNUMXrd century
With respect to this period of time, Roman Sculpture shows a taste for baroque art with respect to the hair in the portraits, which is sculpted much longer and separated from the head with abundant curls as well as beards on the gentlemen expressing movement.
It is in the government of Hadrian that the shape of the eyes in the portraits begins to be carved among the examples of these statues is that of Antinous where an idealism very similar to the Hellenistic Greek culture is observed.
It was the favorite of the emperor Hadrian, the portrait was highly idealized and became confused with the image of the god Apollo.
Her hair was long and her eye shapes were carved, and this portrait was full-length with a very beautiful body figure.
Regarding the female portraits, you can see that of Faustina where she appears with a hairstyle with a parting in the middle of her head and her hair falls in soft waves and is gathered at the nape of the neck or on the head of the lady forming a bun. .
With respect to the portrait of Hadrian made in the XNUMXnd century, the eyes are carved, he has a beard on his chin and his hair is marked and separated from the head since it is long.
https://www.youtube.com/watch?v=Z0_eNQt7EY0
It was worked using a trepan with great delicacy in detail, and on his bust he has a jellyfish. With respect to the third century, one of the most representative portraits of Roman Sculpture is that of the emperor Caracalla.
Who had a violent, arrogant and strong character, these qualities were accentuated in the portrait they made of him where the head is completely turned.
The portrait in the fourth century of the Roman Empire
In this period of time it is observed that the portraits are dehumanized and the emperor moves away from society, so an anti-classicism is observed.
In this period the features are disproportionate and the carving is hard, as evidenced in the statues made to Constantine.
Being the most frequent of this period in the history of Roman Sculpture, this portrait of the late imperial period anticipates Byzantine sculpture.
The Statues made in Roman Sculpture
With respect to the design of the statues, they were made with a Greek aspect to the deity, idealizing the human figure of the emperor.
In a body that is always young and full of energy as a symbol of the power of the emperor unlike the portrait where realism is conferred.
Therefore, there was a marked difference between the statues and the portraits, since in the public monuments where the complete statue was required, the body of some deity was used and the head of the emperor was placed on it without any inconvenience.
They even replaced one head with another without any inconvenience, as shown in the literature of the historical moment, thus confirming independence.
Regarding the thought of the inhabitants of the Roman Empire regarding the head with initial descriptions of the realistic style and the idealized body.
These statues were created regularly until the XNUMXth century after Christ, although at the time of Constantine I the Eastern influence showed a progressive absence of statues and they were only dedicated to making portraits.
Although statues were made in smaller numbers specifically for public monuments where a synthetic as well as abstract style predominates, being the connection with Byzantine art.
Coffins in Roman culture
The use of these coffins was common in the Etruscan civilization in addition to the Greek, but in the city of Rome this characteristic was used extensively by the Roman Empire from the second century onwards, since the Roman custom was cremation and it was replaced by burial. .
Producing three important centers where coffins were made, such as the city of Rome, Africa and Asia, showing various models of these mortuary boxes.
The most common of these coffins was a box that was decorated with relief figures and had as smooth a cover as possible.
Then there was another box that also had a decorated cover where the portraits of the Roman Sculpture could be added, these could be the full body of the deceased.
It seemed that the characters were sitting at a banquet and it was a model that came from the Etruscan culture, allowing the creation of new forms adorned with reliefs of great complexity in their details.
In addition, in the city of Rome, a mortuary box model was used, which was adorned with abstract elements, including floral designs or animal heads.
Among those that stood out those of the lion at the ends of this coffin, there were even several much more striking forms and they were made according to the economic power of the family that carried out the order.
Regarding the production of coffins in Asia, large boxes were used and these were provided with architectural forms around the coffin, columns were placed in addition to statues forming a door with ornamental plates.
Even a roof that had the shape of a prism with acroteras so that at first glance it seemed like a sanctuary and even on top there was a platform.
This type of oriental coffin was decorated on all four sides, being an independent monument that was built in the free space of the cemeteries, instead of the previous ones that were placed in tomb niches, it was only decorated where the coffin would be visible.
This practice in the Roman culture of the burial of their loved ones continued to be practiced in the Christian era, being one of the main icons of religion.
The reliefs in the architecture of Roman Sculpture
To create huge altars as monuments as well as commemorative columns and triumphal arches was required in Roman Sculpture.
The decorative reliefs that were part of the architecture being a great field for the creative fertility of the narrative style of the Roman Empire.
We have already told you about the Enobarbus Altar and the Praxis Altar, which are great precursor examples of this technique, there is even the Emilia Basilica which was made between 54 -34 BC in the Roman Forum.
It presents a Hellenizing style typical of Greek culture with regard to the Julio-Claudia dynasty, there were not many vestiges of this art left, but the little that survived demonstrates the style, such as a frieze that was found in the city of Rome.
Where a procession of magistrates is observed as well as priests who carry offered statuettes in their hands accompanied by assistants, musicians and animals where the perspective is evident
By including figures in the background above the line that corresponds to the procession, it is a resource widely used in Roman Sculpture.
With regard to the Arch of Titus, which was created between the years 81 and 82, it represents the maximum point of the style in the government of Flavio since the panels that adorn this design.
They show the victory achieved by Tito where a highly developed aesthetic and a great skill in the foreshortening technique are presented.
Intended to represent the emperor and the chariot is facing the spectators making a right turn thanks to the ingenuity and skill of the sculptor.
In the other panel, the looting in Jerusalem is observed where the same resource is used but in another plot where the elements are reinforced thanks to light and shadow.
During the reign of Emperor Trajan, the Column of Trajan was created in his honor, which showed the triumph in Dacia between the years 101 to 106.
This architectural work is a column that is entirely covered by a continuous frieze forming a spiral from the bottom to the highest part of the pilaster.
Being one of the great characteristics of the narrative style with respect to the reliefs of Roman Sculpture where episodes of Roman history are framed in a sequenced manner.
Without being interrupted where the emperor is reflected in various situations around 2500 figures carved on the huge column.
Demonstrating an excellent technical level that is observed in the whole of the artistic work, one of its qualities being the abandonment of perspective.
In addition to the use of disproportionate figures in relation to the background landscape, it denotes the influence of Eastern civilization in the artistic work, currently only the forms made in marble can be evidenced.
But its effect when completed must have been amazing because the images were designed with metal details, possibly its author must have been Apollodorus of Damascus due to the characteristics of the ornamental work.
After that, classicism returns to the peak where another Arch of Trajan is made but in the town of Benevento which, despite the time that has elapsed, is in excellent condition with respect to the sculptures, they were finished in the government of Hadrian as well as eleven panels of the same style.
Where Emperor Marcus Aurelius is depicted in various scenes regarding these episodes, four of these scenes are in the Capitoline Museums.
The others were reused in the imperial era that corresponds to the Arch of Constantine, another example of Roman Sculpture is the Column made in honor of Marcus Aurelius where classicism prevails, an order is shown in the column.
Which is decorated in a spiral as well as rhythm and discipline which is absent in the previous column made in honor of Trajan.
Although this small space of history where classicism is observed culminates with the rise of Emperor Septimius Severus for whom an Arch is designed.
Where oriental art is the protagonist according to the proportions and the shortening of the way in which the loose images were organized.
Four scenes are evident in large panels referring to Mesopotamia, this style being the one that will continue in Roman Sculpture throughout the fourth century.
As evidenced in the friezes that ascend the Arch of Constantine showing a contrast in relation to the period of Marcus Aurelius.
Being notorious examples of Roman Sculpture the Obelisk of Theodosius I which is in the Hippodrome of Constantinople very similar to Byzantine art than to Roman culture.
Regarding the Cameos
This genre was very common in the high elites of Roman society, it was used as a jewel, it was carved in semi-precious stones.
Among which are Jasper, agate, amethyst, onyx and chalcedony being considered a Roman Sculpture in reduction and they made engravings on them.
This genre arrived in the city of Rome thanks to the influence of the Greek civilization of the Hellenistic style, being the first to initiate this art.
Where errors cannot exist, requiring a high degree of concentration and sensitivity to work on the vein of this semi-precious stone.
In addition to working on the various layers of the stone to achieve the subtle nuances of color thanks to the effects of light and sharpness with regard to the historical moment in which they began to be made, it is quite difficult to specify even the best made cameos belonged. to great collectors.
One of them is the Gema Augustea, being a piece of semiprecious stone called bicolor onyx that was carved with two scenes that include various characters.
In the imperial period these cameos were highly valued as Roman Sculpture, so this civilization had the ingenuity to invent glass with it, achieving other benefits such as being able to control color and sharpness.
Although the most difficult thing was to work the glass because of how delicate and expensive it was for that historical moment due to the technical challenges of the craftsmen that even today glass experts have not been able to decipher the secrets of their art.
They even made cameo containers made of glass with a carved decoration protected by glass, one of its greatest examples being the Portland glass and the Glass of the Seasons as representations of Roman Sculpture.
Regarding children's toys
Something very common in all civilizations were toys and the Roman Empire would not be the exception according to research carried out since the time of the Hellenistic Greek civilization shows that there was a wide variety of toys intended for the enjoyment and entertainment of infants.
From traditional dolls to carts with wheels, even small pieces of furniture and figures of warriors such as various animals, there are even small houses made of various materials such as terracotta, wood or metal.
These toys are a fundamental way of being able to know the social and economic status of families in terms of the acquisition of these objects to pamper the kings of the house who were their children.
Statuettes for private worship
In the religious aspect, families had cult statuettes of various deities in the Roman pantheon in their homes, in addition to the divinities of the family and even at the national level.
This habit of worshiping deities comes from the influence of the Etruscan and Greek civilization where they were taught to respect and praise the powers of nature.
Like other abstract powers, transforming Roman society into statuettes with human physiognomy, having a great role in the private cult of families.
Currently you can see representations of this tangible heritage in museums where private cult statuettes abound, which is why its great expansion throughout the Roman Empire is estimated and the artistic quality depends on the cost of that historical moment.
For the Romans these statuettes were a form of connection with the deities through this design made by mortals to know the supernatural.
In the same way with other statues - amulets where they protected the inhabitants from supernatural forces, both the Etruscan and the Greek civilization used them.
Thanks to them, Roman society knew them among classical authors such as Galen and Pliny who tell us about their great benefits.
Therefore, the Roman inhabitants made this practice a very common habit, especially in the Late Imperial period, but these elements were not small.
In most cases, statuettes that performed the function of amulet have been found in archaeological sites, as they symbolized the protective ancestors of the home, as is the case of the Lares.
Which were venerated in family homes such is the case of Priapus being the phallic god because his image was excellent to protect from the evil eye as well as sterility and impotence, it was placed on the outside of the houses.
The adornment of objects
Many utilitarian objects were decorated, such is the case of crockery, vases, door handles, as well as lanterns, which is close to Roman Sculpture, being a wide range of pieces that demonstrate the skill and technique of Roman civilization.
With regard to the lanterns, in addition to the braziers, which were adorned with a wide range of elaborate images in relief where religious, erotic and mythological scenes were shown, depending on the location of the image to be used.
These decorations were ornate in addition to plates, bowls, glasses as well as pots where excellent reliefs are designed as well as the necks of the vases with striking shapes.
With regard to ceramics, the terra sigillata stands out, being a form of vessel or container decorated with incisions as well as reliefs, which was very frequent throughout the territory of the Roman Empire.
Another of the frequently used objects forming part of Roman Sculpture known by the term decorative antefixes that were placed on the edges of the roofs of Roman houses, they were made with abstract shapes or figures.
Roman Sculpture in the Imperial Period
With regard to the last centuries of the Roman Empire, around the third century to the fifth century, a new cultural transformation known as classicism was created.
Therefore, the Roman Empire already had its own history and identity and was beginning to discover other ancient cultures, such as the Near East.
Where the influence of these civilizations was taking shape, cult and ideology within the Roman civilization due to its vast territory where they intersected with these new cultures for them as is the case of Gaul, Hispania, Britannia, Arabia, Persia, the North of Africa and the Caucasus.
With this, new techniques were developed that were part of Roman Sculpture thanks to the influence of these new territories that were part of the Roman Empire.
Forming an ascent in culture and the use of a wide range of aesthetic resources which were transformed according to the province where the art was developed. Therefore, syncretism was one of the qualities of Roman art and in the late imperial period of great importance after Christianization, the norms of pagan art were adopted by the Christian emperors in relation to the new topics.
At the time the city of Constantinople was transformed into the new capital city so it was decorated with beautiful architectural buildings. In addition to artistic allusion to the city of Rome, which shows the feeling of maintaining ancient traditions being reformed according to the needs and interests of the context.
But you should know that it was not a total permanence of classicism but rather a selection of artistic styles, so this period was selective and voluntary. As certified by the literature of the time, some styles were officially maintained while others were forgotten.
Even at this time various social, political and economic transformations were evidenced according to the elements so that the high elite of Roman society continued to receive a conservative and classical education. Therefore, they read renowned authors and were familiar with ancestral traditions, developing a taste for them in terms of cities.
In addition to the aristocratic villas, as well as the theaters, they were adorned with figures that were considered pagan at the time that Emperor Constantine converted to Christianity in the year 312.
It was the rupture with the Roman tradition known until then, but it was done gradually according to the investigations carried out by Rachel Kousser, expressing the following:
“…The aristocracy of the fourth century therefore had to negotiate a place for themselves in this contradictory world, without causing open conflict…”
“…The monuments that were made preserved the traces of that negotiation: traditional in form, oblique in content, they document the creation of a new consensus…”
“…For fourth-century aristocrats, these images based on models of classical statues were useful vehicles for balanced and efficient self-representation…”
«…there was talk of a past shared by all and a divided present. In this way, they helped to ensure the survival of classical forms in medieval art…”
At that time, artistic works were made that had a familiar appearance but currently for us they represent a conventional monotony being highly valued in the Late Imperial period.
Therefore, these works marked a milestone in this new Christian order, making a natural representation of the human figure through Roman Sculpture, being a great achievement in artistic works.
Due to this, the classicist monuments of the Late Period immortalizing the system thanks to the artistic values that were brought from the Greek civilization.
It had already spread throughout the territory of the Roman Empire, being a great inspiration in the Renaissance as in other artistic periods that you will learn about through our interesting articles.
These interesting statues that highlighted Roman Sculpture on the rise in the 391th century, although Christianity was on the rise, as well as the banishment of the ancient Roman cult by Emperor Theodosius I in the year XNUMX, caused the destruction of religious images that were decorative.
Emperor Prudentius requested at the end of the XNUMXth century to keep the statues of these pagan idols as signs of the great artistic ability of the artisans, as well as being a beautiful way of adorning the urban planning of cities.
Even in literature, through Cassiodorus, the efforts made to preserve Roman sculpture in the XNUMXth century can be seen, which would form part of the testimony of the Roman Empire for the future.
But the policy administered by the papacy and the Roman Empire was transformed so that many monuments were stripped of the statues that represented Roman Sculpture.
The use of color as a formal and mimetic resource
In addition to carving the stone or polished bronze of Roman Sculpture, the conclusive effect of the artistic work was transformed by the colors used on the surface of the statue.
This practice was very common in the Greek civilizations, which was very common, as evidenced by the historical narratives provided to the bronze and stone statues.
A formidable aspect as it is currently observed in museums, being of great interest the pigment used as decoration, which is why in Roman Sculpture it was common both in statues and in friezes and in relief details through the use of color.
It was believed that color was not used in statues, an error that was perpetuated in other artistic movements such as the Renaissance, Baroque and Neoclassical.
That they left the statues in the natural state of the material they used, unlike Roman Sculpture, even in addition to the use of color, it was also used to insert pieces through other materials.
As it is gold, silver, enamel, glass and mother-of-pearl to highlight certain features or parts of the anatomy through these materials, they can also be colored marble or other semi-precious stones such as onyx.
Even the alabaster that has multicolored veins and a great sharpness for the garments of the statues creating a captivating and elegant effect.
According to the recent investigations that have been carried out on Roman Sculpture, there have been exhibitions referring to replicas of excellent works that are currently in museums.
Implementing the restoration of the original colors in these replicas allows viewers to know what this Roman Sculpture of classical art looked like in its heyday.
Most outstanding Roman sculptures
One of the most outstanding statues of Roman Sculpture due to the perfection of its features that was made in the portraits is the bust of Antinous which was found in 1998 in Villa Adriana today this villa is known with the Tivoli name.
He was the lover of the Roman emperor Hadrian, when this young man died, the emperor requested that they make a portrait in which they idealized him, demonstrating a surprising beauty.
It is followed by the portrait of the Emperor Augustus, being a most outstanding Roman sculpture from the XNUMXth century BC and is currently preserved where the detail of the sculptor is observed in the soft features impregnating life to the marble.
We can also mention the Pantheon of Agrippa which is a Roman Sculpture of great importance and preserved through history.
Another of these statues of great importance in Roman Sculpture is the portrait of Cato and Portia who are a couple in a funeral union where the farewell is evident.
Due to the following qualities that are detailed in the sculpted work, since the lady is much younger than the gentleman, this Roman Sculpture demonstrates great sensitivity that radiates beauty and feelings when observing their intertwined hands.
We can also mention the portrait of Patrick where he wears a mask which is better known by the title of Brutus Barberini with respect to this statue is full body and according to his clothing it is understood that he is a Patrician.
He carries in each of his hands a bust which corresponds to his ancestors and represents the love and respect he feels towards his line of origin as well as preserving the rituals of the funeral burial of the Roman Empire.
We can also appreciate the statue of Augustus of Prima Porta, this Roman Sculpture was found in the Villa de Livia located in the city of Rome specifically on April 20, 1863, currently this magnificent work is protected in the Braccio Nuovo.
Which is part of the Vatican Museums, this Roman Sculpture ranges more than two meters high and in this statue the complex study of the human body for the tension and relaxation of the muscles is observed.
Being a great attraction for the spectators according to the investigations, this sculptural work was commissioned by the wife of César Augusto after his physical disappearance as a memory for posterity of his incredible attributes.
With regard to this Roman Sculpture, it is based on the Doryphorus of Polykleitos from the XNUMXth century before Christ, which is why the features of classical sculpture are evident.
It is a statue carved in marble and one of its qualities is that its shape is round and in it the pigmentation of colors was used, such as blue, gold in addition to purple.
Being a full-length portrait of Emperor Augustus wearing military clothing coupled with his breastplate where it symbolizes the victories of his last military confrontations.
Roman Sculpture in regards to the Provinces
Outside the city of Rome you can find a natural development where some monuments very similar to those made in the main city are preserved.
Although most of the sculptors did not have as much skill as the artists of the city of Rome, it is also very interesting because of the topics that are touched on according to the Roman ideas that transformed the nations they conquered.
Where there is a greater number of sculptures typical of the Roman Empire, they stand out in the western provinces of the nation than in the eastern part, where they are very scarce.
Therefore, thanks to the Roman Empire, Roman Sculpture was expanded throughout the empire in the nations conquered in the West until, when entering the eastern lands, the Roman ideology changed according to its culture.
The culture and ideology of the Persian nation and the Near East gradually transformed Roman Sculpture into a new art through the early Christian era.
Legacy of the Roman Civilization in terms of Sculpture
One of the circumstances to take into account is the pride of Roman civilization in terms of the influence of Greek culture and other cultures such as the Eastern one.
Virgil commented in his Aeneid text that Rome was yet to be born in terms of the arts it would be below the great Greece but its military tactics.
Just as its development in public administration made it flourish, so all Roman Sculpture was in the first instance a mere copy of the Greek example.
The most important values in the Roman Empire that stand out to be implemented in Roman Sculpture were courage, strength and energy in any aspect of the sphere of the Roman citizen.
Therefore, these values were taken into account at the time of making the portrait where not only the external beauty was evident, but also the internal strength of the person to be a model for Roman Sculpture.
As evidenced with the other Fine Arts such as painting, literature, poetry, songs, music even in the architecture of its buildings impregnating its skill and technique as highlighted in the portrait genre that is typical of the Roman sculpture.
Roman society had a great public capacity and was not interested in individualism as well as the extravagances that caused shock to the Greek civilization.
With the Renaissance, Roman Sculpture had the opportunity to flourish again, being a fundamental piece in the rise of the new aesthetic through its elements.
Even the great artist Raphael in terms of lost great works of antiquity deplored the reuse of marble or bronze to create other objects.
In addition, being researching in the archaeological centers of the Roman civilization made new findings and discoveries of Roman Sculpture that until then they did not know.
Causing great furor in the high society of the Renaissance for which great artists made statues and new interpretations inspired by Roman Sculpture.
Thanks to the excavations of the archaeological centers in addition to excellent engravings, for which its influence was surprising in this artistic movement.
With respect to the Baroque, the interest in the statues of Roman Sculpture did not diminish but maintained its peak. Examples of this were Bernini, who was inspired by Roman and Greek art to make his surprising statues inspired by classicism.
For the seventeenth century when people made a tourist visit to Europe, the city of Rome was one of the first places to visit.
In addition, the interest in appropriating the knowledge and techniques of this artistic movement that brought as a product the appearance of a new artistic model known as Neoclassicism.
Regarding the XNUMXth and XNUMXth centuries, large private collections are made in several nations, including England.
Where the Roman Sculpture was part of the acquisitions that gave its owners an enhancement in social status as well as excellent promotions in public office.
It is in this period of Neoclassicism that a reinterpretation of the classical style inspired by Roman Sculpture in the mid-XNUMXth century is made.
Greece returns to give an opening to the Western world after the Turkish rule through the archaeological centers new Greek works were glimpsed.
Already in the XNUMXth century, the modern revolution diminished the interest in the art of the Roman Empire, but museums today show us the wealth of Roman Sculpture from which Western culture originated.
Conclusion
Roman Sculpture, unlike Greek culture, does not stand out for its beauty or its adornments, but it stands out that its sculptures were created in order to impress other nations thanks to its great military, political and administrative power.
Through the portraits and busts, the narrative design of the emperors was created, showing through this Roman Sculpture the serious, responsible and determined character of the highest representative of the Roman Empire.
As for the reliefs, they were used in Roman Sculpture in order to narrate historical events as well as the confrontation of the Roman legions in battles where they dominated new territories to expand the Roman Empire.
Even statues were made where the power and lordship of the emperors in the saddles are observed, in addition, female nudes are not observed in the work of Roman Sculpture as was usual in other cultures.
So the Roman Sculpture had a purpose which was to promote the power and majesty of the beautiful city of Rome to other nations.
You must be aware that the first masters of sculpture who arrived in the city of Rome were originally from Greece, in addition, the high elite of Roman society found numerous uses in Roman Sculpture with regard to the domestic area.
In addition, the flourishing of the Christian era encourages the demands of the design of sculptures related to the field of the Christian religion in its primitive period that corresponds to the year 150 of the Christian era.
Even Roman Sculpture was a model of political propaganda in its time to magnify the emperors. Among the sculptures that stand out the most were those made in marble, followed by those designed in bronze and a small amount made in ivory for personal use.
The reliefs were very characteristic of Roman Sculpture, specifically in scenes where historical events were narrated.
In addition to sculpting victories won by the Romans, as evidenced by the famous column of Trajan, reliefs were also used in the architecture of this culture.
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