Collectors And Admirers Of Greek Art Essay Example

deep red, yellow, green, violet, and black were utilized. There were two techniques employed to ready the walls for painting.

One method of creating a polished finish on a wall involved mixing plaster with marble dust and applying it directly onto the wall in multiple layers. The plaster was then smoothed using a trowel until it became compact. Afterwards, it was polished to mimic the appearance of marble. At this point, the wall was prepared to be painted with water colors or encaustic paints.

The other method, known as panel painting, involved the application of stucco onto boards made of cypress, pine, lime, oak, and larch. Subsequently, mineral and animal dye-based water colors were used for painting. The finished painting was then mounted to cover a wall. These techniques were utilized over the years to create paintings. Despite changes in the style of wall paintings over time, the methods employed in preparing the walls remained largely unchanged. One of the four painting styles, Incrustation, was utilized from 200 to 60 B.C.

During the period from 60 to 20 B.C., the walls were adorned with colorful polychrome panels in solid shades, occasionally featuring a contrast in texture. Referred to as the architectural style, this artistic approach created an illusion of extending the wall beyond the confines of the room, although it was not consistently represented in perspective. By 20 B.C., this technique had gained widespread popularity.

From A.D. 60 to A.D. 79, the dominant painting style was called the ornate style. It involved dividing the walls into panels using vertical and horizontal bands. Afterward, the intricate style emerged, which featured separate paintings on each wall that were not connected to

one another.

It gave people the sensation of strolling through a gallery and admiring a range of paintings. The art of Rome extended beyond wall paintings, encompassing murals, painted glass, illustrated books, and easel paintings. Relief sculptures, carved into sizable stone pieces, served as decorative elements for pediments, temple cella walls, and both the interior and exterior of diverse structures. The dimensions of a relief sculpture relied on its intended use, placement, and execution. Two types of relief sculptures exist.

One type of artwork is a pictorial frieze, which depicts one or more mythological or historical events in a continuous manner. The other type is an image that represents a specific act, occurrence, or event related to military figures. In terms of execution, relief was not treated as a flat wall but as a three-dimensional space where figures could appear or disappear depending on the principles of perspective. The reliefs differed in their execution method, with some being densely packed and others being more loosely dispersed.

The Romans greatly imitated the Greeks in their sculptures, with a particular focus on copying statues of Greek gods. They would also incorporate elements such as wings, portrait heads, and draped clothing into these replicas. When it came to nude statues, the Romans preferred depicting strong and muscular male figures.

The prevalence of nude statues in Rome primarily depicted muscular men, embodying an idealized form. However, some sculptures aimed to capture unique characteristics, such as a small head symbolizing limited intelligence. Roman art had a significant impact beyond aesthetics, influencing religion, mythology, and architecture. The styles and techniques used in ancient Roman art can still be seen today in contemporary sculptures, statues, and

paintings.

Bibliography

1. Brown, D., and Strong, D. (1979). Roman Crafts. New York: University Press.
2. Croix, H., and Tansey, R. (1980). Art Through the Ages.

Harcourt Brage Jovanovich, Inc. (United States of America) and University Press (New York) published Roman Art by H. Heintze in 1971.