The stark difference between Roman from Greek art
The major difference between Greek and Roman art and architecture was the purpose behind the design. Greek architecture was meant to be viewed as a piece of art that would give pleasure to the gods. This was obvious in the ornate exteriors of the buildings; in the pediments and metopes and the relative drabness of the interiors. The Greek designed buildings as a sculpture in a sense, with all of the beauty to be viewed from the outside. Roman architectural style turns this around (Hattendorf, 2007). Although their buildings are beautiful on the outside, the inside is equally beautiful, with the many-colored walls and paintings, and a use of space concerned with the lighting of the room so that the interior decorations could be seen clearly. Roman buildings were meant to be gathering places for the public e.g. the basilica was was built to be a gathering place for Romans citizens to hold meetings, an people also met in large civic buildings such as bathhouses and market places know as forums that were as aesthetically pleasing inside as out.She-Wolf (c. 500 BCE)
Capitoline Wolf (Italian: Lupa Capitolina) is a 5th century BC Etruscan bronze statue, cast in the lower Tiber valley, located since Antiquity in Rome. Approximately life-size, it depicts a she-wolf suckling a pair of human twin infant boys, representing the legendary founders of the city of Rome, Romulus and Remus ( , 2002). The wolf is depicted in anxious, attentive pose, with vigilant ears and glaring eyes watching for danger. By contrast, the human twins - executed in a completely different style - are oblivious to their surrounding because of being absorbed by their suckling. In addition, the Capitoline Wolf is the best known example of Etruscan art, which conforms in general to that of the Mediterranean as a whole, as that of the Greeks to which the rest is usually traced. Indeed, there was a Mediterranean cultural region with variations in each region. This is the explanation of the cultural periods given that the Etruscans are exactly parallel to the Greeks. The most important detail is the end of Hellenistic Greece 31 BCE, and the end of the Etruscans 89 BCE. I. E., the dates upon which each were officially absorbed by the ( 2002).
Moreover, it is a nice archaic wolf, with sharply articulated patterns like the tufted hair at its soldiers and the chain-like patterns around its chest and down its back. Its angularity contrasts with the classical smoothness and organic curving of the later Classical work, which began in the 5th century B.C., which by its very name suggests marks the high point of that time, the 'golden age', of ancient Greece. and it may be that its familiarity and the wonderful contrasting detail for the two infants feeding at it teats have made it all the more unforgettable.
Nike of Samothrace ()
One of the most famous images of Nike is the Nike of Samothrace, better known as Winged Victory. Currently located in the Louvre in Paris, was created some time between 240 and 190 BCE, perhaps by Pythokritos of Rhodes. In 1863 found it in several pieces. It was common from the Classical period on to depict Nike in poses that evoke movement, running, or in flight. She also is commonly shown in the context of holding weapons, pouring libations on an altar, or decorating a trophy (1981). The winged goddess Nike (victory) was the daughter of the Titans, Pallas and Styx; her siblings included Zelos (rivalry), Kratos (strength), and Bia (force). After helping Zeus banish the Titans from Mt. Olympus, the supreme god honored Nike, and she then earned her title as the goddess of victory. The image of Nike is prominent throughout Greek art and was traditionally associated with victory in war, athletics, and even poetry contests. Her presence invoked a spirit of celebration and commemorated the arête (physical and moral excellence) of gods and men. Made of Parian marble, the Nike is an excellent example of the expressive, Hellenistic style. The lively drapery, twisting pose, and dramatic setting create a dynamic composition that has much in common with the art of Pergamon. Although the Nike’s arms and head are missing, a hand discovered in 1950 clearly shows that the goddess was not holding a victory wreath, her usual attribute.
Lastly, Nike of Samothrace is a rare example of the mastery over the rigid materials and deep understanding of the world as expressed through aesthetic conventions and techniques. The winged goddess appears to be in a process of suspended animation as her outstretched wings labor gracefully to prevent the force of gravity from anchoring the heavy stone to the ground (2004). The twists and deep undercuts of the drapery conform faithfully to the nude body underneath and in the process, reveal the physical human presence they contain as is struggles to resist an invisible external force. The imaginary wind that shapes the drapery becomes a physical presence and an intricate part of the sculpture itself in a playful interdependence of physical and imagined entities.
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