Conclusion

My favorite types of art that I enjoyed studying were the ones from the Ancient Greece and Roman eras. I find that their use of marbles and creating statues of people are really spot on and inspiring. I feel those places are so rich in culture and history that their art in which it’s originating from has so much to say and there is so much to learn from. I have been to Italy before and seen the Statue of David; ever since I have been there all the sculptures and statues of all of the famous figures always fascinated me. Also, I have wanted to travel to Greece ever since I was a small child. I find that the inspiration is endless in Greece, some place where all people can admire the history itself. I will say that the history is what intrigues me most about Ancient Greece and Roman art. The rich society and how historically impactful the locations are really encouraged me to dive deeper into studying the art and culture.

In Ancient Greece, I find that the depictions of people on vases are exaggerated and stylized; something that I find to be greatly appreciated is the detail in which the artists partake. I especially enjoyed the “Achilles and Ajax Playing a Game.” The exaggerated faces, the super buff body image and the black and gold paint for the piece really brings out that stylized look for the vase. I also like the fact that each interpretation of these people is godly and superior. They stuck to their beliefs and used them to create masterpieces that everyone worldwide will get to enjoy.

For the Roman art, my favorite piece would have to be the architectural wonder of the Flavian Amphitheater, or the Colosseum that we know it to be. Its greatest feat would be the sheer size, and the history of it really amazes me in so many different levels. Other great pieces I enjoyed were the busts of the Young and Old Flavian women. The detail in the hair from the Young Woman and the exaggerated facial features of the Old Woman was just phenomenal. It really shows the great patience and skill it takes to recreate the human face.

I am really glad that I took this class; I feel that I learned so much more about my favorite types of art, the pieces of art that came out of my favorite periods and all the new things I learned along the way. I hope to learn more as I read farther into the book, discovering new things that just might intrigue me more.

Medieval Art

I feel that in the two works of Medieval Art I want to tackle is the “Woman Clothed with the Sun, the Morgan Beatus” and “Christ and Disciples on the Road to Emmaus.” Both pieces, I feel, really demonstrate that stylized look. Both works of art stray away from naturalism to a degree but still hold the own of setting a realistic tone. For example, in both pieces, we see figures and actions that we can still constitute as recognizable events and people. However there are subtle differences in the two works that tackle the stylizing in different ways.

The Woman Clothed with the Sun, The Morgan Beatus, page 433 in our Medieval Art book, is a great example of abstract reality and stylized story. First off, we get a sense of chaos in the choice of colors by the artist Maius. This illustration is based the biblical text of the Apocalypse in Revelations 12:1-18. I like how anyone with any Christian biblical knowledge will easily recognize this scene. This aspect is naturalism and realistic, something we can relate to and see on paper. Where the stylized part comes in is where we see each individual part of the illustration. The top left hand corner depicts a woman wearing a robe with the sun emitting from it. There she is extending her arms towards this multi-headed beast. The realism in this scene is null; it is left to an individual’s faith and imagination to decide whether what is real or not. What I find most stylized is the top right hand corner of the illustration; there are four men set apart from the rest of page, one of the men is sitting on a throne. I’m going to depict this as God and the others are angels. I find it the most stylized because of the garb they are wearing and the way the angels’ wings are set; one wing is off to the side while the other is set above the top of the picture. All of their eyes seem to bug out and widen while they witness this scene. Another interesting part is the scene in the bottom right hand corner; angels are dropping naked people into what I’m interpreting as hell. Now this part is straightforward and “natural,” however I feel that what is stylized are the body positions of the people and how Satan is positioned as well. He seems to be lying down with his arms up; I’m not sure how to describe what I think of this but it is not something I had expected.

            Christ and Disciples on the Road to Emmaus, page 452 in our books, greatly shows subtle stylization that I felt should be recognized. Firstly, we can see that these men greatly resemble a human in the sense of proportion, facial expressions, and hair. But it is in these features that I see the stylization. In the faces of these men, the eyes are again bulging and wide; there are not eyelids and very small under eyelids. The beards are very thick and “cartoonish,” very unrealistic and “stylized.” The way the mustaches fall perfectly over their beards is unappealing in the sense of recognizing a real beard. Also, their hair is reflected in the way the beards are perfectly assembled. I also feel that the mens’ robes are very detailed and unrealistic to that era. Christ was a poor man and his robes do not reflect that, I want to express that in my opinion, THAT is stylization…because Christ is a major and highly regarded religious figure the artist may have stylized his more to reflect his reputation.

Roman Art

I find that this era of art is one of my favorites to talk about. I love the old war generals and emperors of Roman history and these two beings are prime examples of great art and culture. Both the portrait head of Caracalla and the bust of Commodus as Hercules reek of proud attributes and power hungry individuals. The bust of Commodus as Hercules is a more obvious example of an over the top representation of a human being. We have Commodus, son of Marcus Aurelius, in what seems to be a lion or tiger jaw and skin draped around his head and neck. He holds a club in his right hand and apples or small fruit in his other hand. On the base of the bust are two kneeling Amazons though one is missing. Beside the Amazon is a globe with the Zodiac signs; on top are Cornucopias’ with the Amazon’s shield. After doing some research as to what the base represents, I came up with a few different outcomes. All of which concludes with Commodus’ idea of power and heroism. It is said that Hercules solely represents these elements that Commodus is replicating. Commodus had ordered people to characterize himself with Hercules whenever sculpted or painted. He had built a sort of relationship with Hercules by being this power-driven person in the arena; he said that he is the rebirth of Hercules himself and his physical dexterity was greatly seen.

Now Caracalla, son of Septimius Severus, was a Roman emperor from 209 to 217. Caracalla is known to be one of the most notorious and unpleasant emperors of Roman history. Because of the massacres and persecutions Caracalla allowed and initiates throughout the Empire, people feared and hated him throughout the Roman Empire. The marble portrait of Caracalla is subtler than the former art piece of Commodus as Hercules. Significantly more damaged, the portrait head of Caracalla shows his power hungry instincts and personality in the facial expression than Commodus’ actual outer appearance. The first things I notice from Caracalla are the eyes. The eyes are protruding from the face and looking up, almost thinking or plotting of ways to better him. This plus the stern eyebrows and forehead we get a sense of unyielding and demanding actions from his man. Now I find this part of the head most chilling is the relaxed mouth but tense jaw. For me it shows great strength and relaxation in times of many destitution and adversity (and not hardships for himself that is).

I feel that many propagandistic messages can be seen from both pieces of art. We definitely get the sense of power and class from these individuals. Speaking from my own thoughts and imagination I would never want to be alone in a room with either or these men from what I see from their statuesque busts. I can see these propagandistic messages be widely understood by everyone. I feel that that is why these were made like this, to show people from all different kinds of cultures and backgrounds that these guys are not messing around. I feel that everyone will interpret facial expressions in the same way. A menacing and chilling facial expression from Caracalla will only allow so much interpretation from different people that we get the sense of what is being said. It goes for Commodus as Hercules when we see his dead lion skin and spiked club. We know, as human beings with the same natural instincts, when we are being shown something that can deliver harm our way. Both of these men’s busts give off the sense of control, power, supremacy, and rule of hundreds and thousands of people.

            

Greek Art

I feel that the Parthenon Marbles, being a great piece of history and art, should not be in London in a British Museum. Their rightful place should be in the Parthenon where they originated. I would go as far as saying that it would be like taking the Liberty Bell or Abraham Lincoln’s statue and displaying it in a German Museum. Taking a piece of a country and society’s history is almost an insult to them; basically saying “Nyah Nyah” and leaving them with their jaws open. At what I understand about the Marbles, Thomas Bruce or the earl of Elgin had “purchased” these marbles. There are speculations and questions about the authentication of the documents that prove Lord Elgin had indeed purchased the art pieces. His intent was to take these Marbles home and decorate his mansion with them and live with his wife in luxury. But after he had come back to England, she had left him. The pieces were the center of a large financial dispute and were sold. It has been said that the Greek Government has tried to and unsuccessfully gain back the marbles for the Parthenon.

            I feel that is it is very problematic that the British Museum is only focusing on the aesthetics of the piece. But encouraging the aesthetics of the Parthenon Marbles, we overlook the historical context and do not see that its rightful place is back in Athens. We can appreciate the extent the British Museum is putting out about the artistic and visual components of the Marbles; the talent and skill needed to make these incredible works of art is highly recognized and valued. However, as beautifully exhibited and displayed the Marbles are, it is still known to be original pieces of the Parthenon in Athens, Greece. These pieces derive from the Greek and it should be there displayed in the Parthenon, which has been around since 438 BC.

            The Parthenon marbles should not stay in London at all. Though Thomas Bruce had “purchased” these marbles from himself and later displayed in London where he had resided, it’s rightful and equitable resting place should be where it had been taken so long ago, Athens. I feel that by reuniting all the missing pieces of the Parthenon will give a better understanding of originality, respect, and most of all culture. It was built to remain intact and, as a temple of Athena, remain undestroyed. Now aging and time has deteriorated most of the structure, the creators knew that this would happen. I understand that by taking these pieces and restoring and protecting them would be ideal but I believe a Greek Museum could do the same; even restoring the actual Parthenon could always be a possibility.

            I know that there are many controversies surrounding the issues of the Elgin Marbles. From looking at both sides of the argument, I feel that history and aesthetics can be both satisfied if returned to the rightful owner and place of the Parthenon in Athens, Greece.