AP Art History Chapter 6 Notes PDF

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Gardner's Art through the Ages Chapter 6 Lecture, Patricia Morchel...

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Chapter Intro - Etrucans: the people who occupied the middle of Italy in early Roman days and were later wiped out by the Romans - The Tomb of the Augurs - One of thousands of underground tombs - Carved out of the bedrock at the city of Tarquinia - Had frescoes on all four walls - Lituus: the curved staff carried by an augur - Augur: A Roman priest who determined the will of the gods from the flight of birds and whose attribute is the lituus - Etruscan art and architecture provided the models for the earliest Roman painters, sculptors, and architects Etruria and the Etruscans - The heartland was the territory between the Arno and Tiber rivers of central Italy - Villanovan period: first millennium BCE, the Etruscans emerged as a people with an artproducing culture - The Etruscan cities never united to form a state, so they were not a nation but rather independent cities who shared common linguistic ties and religious beliefs and practices Early Etruscan Art - Although Etruscan Art is acknowledged as distinct from Greek art, they are still separated into the same periods Orientalizing Art - The Etruscans successfully mined iron, tin, copper, and silver, creating great wealth and transforming Etruscan society - Agricultural villages became prosperous cities engaged in international commerce, and the elite developed a taste for luxury objects incorporating Eastern motifs - Fibula: A crowning ornament - Pectoral: An ornament on the chest - Granulation: A decorative technique in which tiny metal balls (granules) are fused to a metal surface - Fibula with Orientalizing lions - from the Regolini-Galassi Tomb - Combines repoussé and granulation and is the work of an Etruscan artist - The lions are Egyptian and Mesopotamian motifs - Equals or exceeds in quality anything that might have served as a model - Hallmark of newly acquired wealth Archaic Art and Architecture - Model of a Typical Etruscan Temple of the Sixth Century BCE

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Apulu -

as Described by Vitruvius, a Roman architect resembled Greek temples but had widely spaced, unfluted wood columns only at the front, walls of sun-dried mud brick, and a narrow staircase at the center of the facade Was not meant to be seen from all sides

Or Apollo of Veii from the Roof of the Portonaccio Temple Painted Terracotta The statue of Apulu was part of a group depicting a Greek myth The god’s vigorous motion and gesticulating arms and the placement of the statue on a temple roof are distinctly Etruscan Vulca: the only Etruscan artist any ancient writer named - The signatures of other Etruscan artists appear on extant artworks, one of them is Novios Plautios Tuscan Columns: The standard type of Etruscan column. It resembles ancient Greek Doric columns but is made of wood, is unfluted, and has a base Fewer, more widely spaced columns were the rule in Etruscan temples Etruscan temples also frequently had three cellas—one for each of their chief gods, Tinia, Uni, and Menrva The Etruscans normally placed life-size narrative statuary—in terracotta instead of stone —on the roofs of their temples Sarcophagus with Reclining Couple - Painted Terracotta - Sarcophagi in the form of a husband and wife on a dining couch have no parallels in Greece - The artist’s focus on the upper half of the figures and the emphatic gestures are Etruscan hallmarks - Only contained the ashes of the dead Etruscan inscriptions often give the names of both the father and mother of the person commemorated - unheard of in Greece Etruscan women also retained their own names and could own property Cremation was the most common means of disposing of the dead in Archaic Italy Tumulus: Latin, “burial mound.” In Etruscan architecture, tumuli cover one or more subterranean multi chambered tombs cut out of the local tufa (limestone) Necropolis: Greek, “city of the dead.” A large burial area or cemetery Tumuli in the Banditaccia Necropolis - the Etruscans buried several generations of families in multi chambered rock-cut underground tombs covered by great earthen mounds Tomb of the Shields and Chairs

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one of the most elaborate in the Banditaccia necropolis Sculptors carved out of the tufa bedrock six beds and two high-backed chairs with footstools, as well as door frames and ceiling beams Tomb of the Relief - The most elaborate Cerveteri tomb in decoration - the sculpted walls and piers were painted with stucco reliefs Cerberus - Three headed dog - guardian of the gate to the Underworld Tomb of the Leopards - takes its name from the beasts that guard the burial chamber from their perch within the pediment of the rear wall - depict banqueting couples, servants, and musicians. The men have dark skin, the women fair skin - In characteristic Etruscan fashion, the banqueters, servants, and entertainers all make exaggerated gestures with unnaturally enlarged hands Tomb of Hunting and Fishing - scenes of Etruscans enjoying the pleasures of nature decorate all the walls of the main chamber Diving and fishing - Detail of the left Wall of the Tomb of Hunting and Fishing - Scenes of young men enjoying the pleasures of nature cover the walls of this Tarquinian tomb - The Etruscan diving scene predates a similar landscape painting in a Greek tomb at Paestum

Late Etruscan Art - The number of grandiose Etruscan tombs decreased sharply, and the quality of the furnishings declined markedly - No longer did the Etruscan elite fill their tombs with gold jewelry and imported Greek vases or decorate the walls with paintings of the first rank Classical Art - Capitoline Wolf - Bronze - The best-known Etruscan statue of the Classical period - An Etruscan sculptor cast this bronze statue of the she-wolf that nursed the infants Romulus and Remus, founders of Rome - Chimera of Arezzo - Bronze - The chimera was a composite monster

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- the artist depicted the wounded beast poised to attack and growling ferociously - was a votive offering in a sanctuary Ficoroni Cista - By Novios PLAUTIOS - made this container for a woman’s toiletry articles in Rome and engraved it with the Greek myth of the Argonauts - The inscription reflects Rome’s growing power in central Italy Cistae: An Etruscan cylindrical container made of sheet bronze with cast handles and feet, often with elaborately engraved bodies, used for women’s toiletry articles Voussoirs: A wedge-shaped stone block used in the construction of a true arch. The central voussoir, which sets the arch, is called the keystone Arcuated: Arch-shaped. Porta Marzia - one of the gates in Perugia’s walls - The use of fluted pilasters or engaged columns to frame arches typifies Etruscan builders’ adaptation of Greek architectural motifs Pilasters: A flat, rectangular, vertical member projecting from a wall of which it forms a part. It usually has a base and a capital and is often fluted Charun: An Etruscan death demon. Vanth: An Etruscan female winged demon of death Sarcophagus of Lars Pulena - Images of the deceased on late Etruscan sarcophagi are more somber than those on Archaic examples - Lars Pulena proudly displays a list of his life’s achievements on an open scrol Aule Metele - Or Arringatore - The life-size bronze statue portraying Aule Metele is Etruscan in name only - The orator wears the short toga and high boots of a Roman magistrate, and the portrait style is Roman as well Toga: The garment worn by an ancient Roman male citizen...