Comparing Art in the Greek and Roman Eras

Comparing Fine art in the Greek and Roman Eras Greek and Roman arts were both original and distinguished by features which is often compared and contrasted. In both cultures the major fads in fine art were occur their ancient durations. However, the contrast and contrasting of both are best restrained to the later cycles of each contemporary society. Greek art started out in the Fifth Century B. C. It was done usually in relatively small metropolitan areas and was usually honoring some spiritual or civic event. In Greek world, their art was usually created in the greater public places of the time so the residents could admire more aesthetic creations in the places where they spent a huge part of their own time.

During this period, art underwent remarkable transformations and developed on the road paved recently by the Classical artist. This era expanded his formal horizons with remarkable posing, sweeping lines, and high distinction of light, shadow and feelings. The conventions and guidelines of the traditional period gave way to the experimentation and a feeling of liberty that allowed the musician to explore his topics from different unique factors of view (Greek Skill: The Hellenistic Period 1).

Greek skill usually includes much pottery, sculpture, architecture and painting. The early Greeks made pottery for everyday use; for example cups, jugs and bowls were often used. The few exceptions were trophies which were won at game titles like the Panathenaic amphorae. The Panathenic amphorae was a big ceramic vessel that contained the essential olive oil that was from the sacred grove of Athena. Another exception was that pottery was also used for funeral urns. The history of Greek pottery is divided into different cycles; Proto-Geometric (1050 BC), Geometric (900 BC), Archaic (750 BC), and the Red Physique (530 BC). The range of colors which could be utilized on pots was limited by the technology of firing: dark, white, red, and yellow were the most frequent. Inside the three earlier periods, the pots were still left their day light color, and were decorated with slip that turned black in the kiln. During the Proto-Geometric and Geometric cycles, Greek pottery was decorated with abstract designs. In later periods, as the aesthetic shifted and the complex proficiency of potters better, decorations took the form of human results, usually representing the gods or the heroes of Greek record and mythology. Fight and hunting views were also popular, given that they allowed the depiction of the equine, which the Greeks placed in high esteem. In later durations erotic styles, both heterosexual and male homosexual, became common (Wikipedia 1).

Those who practiced the visible arts, including sculpture, were performed in low respect in historical Greece, viewed as mere manual laborers. Plutarch (Life of Pericles, II) said "we admire the task of art but despise the manufacturer of it"; this is a standard view in the early world. A whole lot of sculptures during the Greek period were predicated on various deities and heroes. Many sculptures of Greek gods were in the fantastic temples like Parthenon in Athens, and the Temple of Zeus in Olympia. During this time period sculpture became increasingly more naturalistic. Common people, women, children, animals and domestic scenes became acceptable content for sculpture, which was commissioned by wealthy young families for the adornment of these homes and gardens. Sensible portraits of men and women of all age range were produced, and sculptors no longer felt obliged to depict people as ideals of beauty or physical excellence.

Sculpture is by significantly the most crucial surviving form of ANCIENT GREEK LANGUAGE skill, although only a little amount of sculptures have survived. Greek sculpture was very significant through the Italian Renaissance, and remained the vintage model for European sculpture before appearance of modernization in the past due 19th century.

During the Archaic period, the Greek city-states on the mainland, on the Aegean islands, and in the colonies grew and flourished. Athens, which acquired lagged behind the other city-states in population and economical development in the seventh century, started moving artistically, commercially, and politically to the head (Stockstad 618). The Greek arts developed swiftly during the Archaic period. As Greek temples grew continuously in size and complexity in the centuries, natural stone and marble changed the earlier mud-brick and solid wood construction. Also, sculptural beautification got on increased importance. Among the earliest surviving examples of Greek pedimental sculpture are fragments of the ruined Doric order Temple of Artemis on the island of Korkyra. The figures in this sculpture were carved on separate slabs, then installed in the pediment space. They stand in such high relief from the background aircraft that they actually break through the architectural frame, that was more than 9 ft extra tall at the top. At the guts is the snake-haired Medusa. For the edges were Medusa's children. Old Greeks could have seen the image of Medusa at the guts of the pediment as both menacing and protecting (Stockstad 621).

Architecture was no more in Greece from the finish of the Mycenaean period, about 1200 BC, until the Seventh century, when metropolitan life retrieved to a point where general population building could be carried out. Since most Greek buildings in the Archaic and Early Classical cycles were manufactured from timber or mud-brick, nothing remains of these except a few ground-plans, and there are almost no written options on early structures or explanations of buildings. Most of our knowledge of Greek architecture originates from the few surviving properties of the Classical, Hellenistic and Roman cycles since Roman architecture greatly copied Greek (Stockstad 700). In comparison, The Romans learned sculpture and painting essentially from the Etruscans and Greeks and helped to transmit Greek artwork to later ages. Roman artwork is the sculpture, pottery, painting, and other fine art produced in Old Rome in the middle of the Eighth Century BC until the decline of the Roman Empire by the Fifth Century Advertising. Ancient Roman fine art was heavily affected by the artwork of the historic Greece, and later by the skill varieties of countries within its empire, especially Old Egypt, or of civilizations which its empire bordered.

Though the Romans received many ideas from the Greeks, their skill was more technical, and described. The Romans were a practical people, in their original works, observation was key. Portrait sculptures tend to be carefully complete; portraits of Roman emperors, however, were often used for propagandistic purposes and included ideological emails in the cause, accouterments, or outfit of the amount. The Romans also depicted warriors and heroic adventures, in the spirit of the Greeks who arrived before them. While Greek sculptors traditionally illustrated military services exploits through the use of mythological allegory, the Romans used a more documentary method. Another major contribution of Roman fine art is the utilization of concrete in structures. Structures like the Flavian Amphitheater, or Colosseum, could do not have been designed with past architectural means.

While the original view of Roman musicians and artists is that they often borrowed from, copied, or even outright stole Greek precedents, a lot of the Greek sculpture we realize of today is in the form of Roman marble copies. More recent analysis as mentioned that Roman art work is a highly creative pastiche of Greek, Etruscan, local Italic, and even Egyptian aesthetic culture. Stylistic eclecticism is the sign of a lot of Roman art.

The artwork of the first and second decades AD just about continued the customs of portraiture and Greek imitations. Roman designers added more use of skill as propaganda to show the actual emperors wanted visitors to know or even to think. Some examples of this will be the Arch of Titus and Trajan's Column (Witcombe 2). Roman people were particularly considering portraiture, such as making statues that basically looked like a definite person. Greek individuals were more considering ideals, such as what's the most amazing man? What's the most athletic man?

In summary the difference between Greek and Roman art is disclosed in a comparison of the sculpture created by each culture. While the Greeks were content to idealize their images, the Republic Romans preferred representations in rock and bronze that emphasized the truth of the person being portrayed. And later they searched for depict the majesty of the rulers. The Greeks used a combo of ideal parts in their fine art but not displaying any real people. The Romans were experts of realism, regardless of what motivated Roman to produce their real images of individuals, the truth is these portraits are a powerful evidence of the industriousness of the Romans. Indeed, it seems fair to say that in a few respects, the Romans wished to create the earth in their own image.

Works Cited

Etruscan & Roman Art - Roman Imperial Period. November 2007. http://www. mcps. k12. md. us/schools/quinceorchardhs/art/2000-2001/arthistory/rome/imperial. html

The Metropolitan Museum of Art work, New York website -"Greek Art". November 2007. http://www. metmuseum. org/explore/publications/pdfs/greek/divided/f-Greek-Art. pdf

Stockstad, Marilyn. Artwork History-Combined Volume. New Jersey: Pearson Education, 2005.

Wikipedia The Free Encyclopedia. December 2007. www. wikipedia. org

Art Record Resources on The Web. Witcombe, Christopher. December 2007. http://www. witcombe. sbc. edu

Greek Artwork: The Hellenistic Period. November 2007. http://www. greeklandscapes. com/greece/athens_museum_hellenistic. html

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