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ROME
(ROMA)
The integration between the
architectonic and figurative genres was the fundamental theme
of the artistic production of the time: there are significant
examples like the Domus Aurea Neronian (once again allowing
visits) rich in paintings (probably of Fabullus) and decorative
plaster, the Palace of the Flavi Chancery, the Coliseum (Amphitheatre
Flavio), the Domus Augustana (Imperial Palace of Domiziano
on the Palatino), the Arch of Tito.
The neo-Attica tendency, present in architectonic examples,
tended to disappear in the figurative expressions, being substituted
by special prospective solutions and of plasticity ignored
by Classicism (Triumphal Procession on the Arch of Tito).
Coloured mosaics (emblems) and black and white ones, bass-relief
(Traiana Column), mural paintings (villas of Pompei), re-proposed
a compromise between realism and Ellenism, whilst in architecture,
developments went ahead with the Utilitas conception, based
on the evolution of classic forms and on their use adapted
to the town planning, military and civil needs, present during
the reconstruction and foundation of the Imperial Cities.
The Emperor Adriano (117-13) supported these trends and thanks
to him, the reconstruction of the Pantheon, The Temple of
Venus and suburban complexes of Villa Adriana in Tivoli took
place.
Figurative art went ahead by affirming the sculptural and
pictorial styles, based on light and dark motifs, which were
very popular during the Antonini era (134-192; base of the
Column of Antonino Pio, paintings of Lucio Vero and Commodo).
The contemporary foundation
of a school of sculpture at Efeso, diffused throughout the
East (Palmira, Petra, Baalbek) prepared for the evolution
of Roman art computed during the era of the Severi (3rd Century):
breaking away from realism and naturalism, and using instead
allegory, illusional optical effects are innovative elements
already existent in the Column dedicated to Marco Aurelio,
where, for the first time in history, an element of a miraculous
nature was attributed to the Emperor (rain which saved the
Roman Army).
The arch of Settimio Severo and that of Leptis Magna (native
city of the Emperor) renewed the motifs of the historical
reliefs, already present in previous work (Arch of Tito, Arch
of Traiano at Benevento), but gestures of the Emperor are
seen in epic-dramatical keys and no longer celebrative. The
rarefied effect is obtained by tracing profound grooves around
the figures, by use of a helicoid drill. Painting and mosaic
also followed allegoric and illusionistic tendencies (paintings
in Encausto, Fayyum in Egypt, polychromed mosaic flooring
produced in Libya and Sicily).
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| ROME
Art City
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THE "SPINAIO" |
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MOSES BY MICHELANGELO |
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THE MOUTH OF TRUTH |
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