Study your flashcards anywhere!

Download the official Cram app for free >

  • Shuffle
    Toggle On
    Toggle Off
  • Alphabetize
    Toggle On
    Toggle Off
  • Front First
    Toggle On
    Toggle Off
  • Both Sides
    Toggle On
    Toggle Off
  • Read
    Toggle On
    Toggle Off
Reading...
Front

How to study your flashcards.

Right/Left arrow keys: Navigate between flashcards.right arrow keyleft arrow key

Up/Down arrow keys: Flip the card between the front and back.down keyup key

H key: Show hint (3rd side).h key

A key: Read text to speech.a key

image

Play button

image

Play button

image

Progress

1/12

Click to flip

12 Cards in this Set

  • Front
  • Back
  • 3rd side (hint)
Portrait of Augustus as general, ca. 20 BCE, Roman, marble copy of a bronze original
Portrait of Augustus as general, ca. 20 BCE, Roman, marble copy of a bronze original
represented wearing body armor which suggests that he has a personal role in history. Not aged, no wringkles. Serene and idealized. promotion of greek ideals. The promotion of augustus as serene bringer of peace. outstretched arm suggests a greeting and is a juxtaposition of emotions. public monument suggesting governance in reason and not autocratic rule.
cupid suggests his descendence from venus
Ara Pacis Augustae (Altar of Augustan Peace), Rome, Italy, 13–9 BCE.
Ara Pacis Augustae (Altar of Augustan Peace), Rome, Italy, 13–9 BCE.
monumental intricate screen built around it. act of thanksgiving towards augustus who defends the people from gaul. low relief with acanthus scrolls. magical in symmetry and proliferates life. figures contain portrait likness. men women and children are depicted, and it reflects fertility and prosperity. a personification of peace. babies on lap.
roman art was fused with propaganda and enriched portraiture. a roman adaptation of early greek and hellenistic altars.
Allegory of Peace, from the Ara Pacis Augustae, Campus Martius, Rome, Italy, 13–9 BCE, marble
Allegory of Peace, from the Ara Pacis Augustae, Campus Martius, Rome, Italy, 13–9 BCE, marble
woman maybe mother earth nurturing her peopleor a personification of peace, or venus or ceres,abundant earth theme is emphasized by the flowers and foliage in background and domestic animals in foreground.

sea monster and dragon represent sea and land winds. overal representation of rome's dominion over the mediterranean. the jug of water and wetlands suggest fertility of roman land.
Imperial Procession, from the Ara Pacis Augustae, Campus Martius, Rome, Italy, 13–9 BCE, marble
Imperial Procession, from the Ara Pacis Augustae, Campus Martius, Rome, Italy, 13–9 BCE, marble
senators and important family members
represents augustus performing a ritual. individuals are depicted, unlike parthenon frieze. elements to suggest spatial depth--closest ones are in high relief. the feet of the nearest project out of the groundline into our space.
Colosseum (Flavian Amphitheater), Rome, Italy, ca. 70–80 CE, Roman, brick and stone
Colosseum (Flavian Amphitheater), Rome, Italy, ca. 70–80 CE, Roman, brick and stone
barrel vaulted corridors that provided access to them. entrance tunnels connected the ringed corridors to the side ramps and seats on each level. the intersection of the entrance tunnels and the ring corridors are called a groin vault. engaged columns--plain tuscan, ionic and then corinthian and flat pilasters on the fourth. arch framed by engaged columns, and apppear supported by entablature like bands. all purely decorative with no structural function. post and lintel structure to arches was an etruscan invention
Pantheon, Rome, Italy, 125-128 CE, Roman, brick and concrete with marble revetments.
Pantheon, Rome, Italy, 125-128 CE, Roman, brick and concrete with marble revetments.
marble veneer disguises the wood and concrete. the excedras pilasters and entablatures hide the walls of the drum. oculus and coffered ceiling creates a heaven. juxtaposition of rectilinear portico against rotunda. eyes are drawn upwards and ignore the solid architectural spaces inside.
Triclinium with Mythological Scenes, House of the Vettii, Pompeii, 70-79 CE, Roman, Fresco
Triclinium with Mythological Scenes, House of the Vettii, Pompeii, 70-79 CE, Roman, Fresco
Odysseus and the Sirens, ca. 260 CE, Roman, mosaic
Odysseus and the Sirens, ca. 260 CE, Roman, mosaic
Shop sign for a Grocer,
150-200 CE, Roman, marble.
Shop sign for a Grocer,
150-200 CE, Roman, marble.
proportions are no longer important. clarity is the artists purpose and details of everyday functional life.
Sarcophagus with Battle Scenes, ca. AD 180-190. Roman, marble.
Sarcophagus with Battle Scenes, ca. AD 180-190. Roman, marble.
artist made no attempt to create a realistic spatial environment.
Column Base of Antoninus Pius, ca. 161 CE. Roman, marble.
Column Base of Antoninus Pius, ca. 161 CE. Roman, marble.
a huge allegory-personification of rome-female if funeral area contains figure in a way that is unrealistic and spatially illogical. loss of interest in relationship
Arch of Constantine, 312-315 CE, Roman, marble
Arch of Constantine, 312-315 CE, Roman, marble
ionic volutes on corinthian capital--composite, support entablature. decorational though. purely monumental.
a recycled sculpture. depiction of important events. roundels taken from hadrian monument. figures are stalky and look alike. far different from realism of imperial reliefs. emphasis on authority, ritual and meaning-adopted by christian church. a bridge between imperial past and art of european middle ages. these parts contrast with the recycled parts. visually isolate constantine.two dimensional hierarchical approach.