Greek, Etruscan and Roman Art Differences

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Freshman (College 1st year) ・Art ・Turabian With Footnotes ・5 Sources

This essay compares two portions of artworks chosen one from Greek and another from Etruscan and Roman. There are differences between Greek, and Etruscan and Roman artwork regarding the function of the artwork and choice of material used. It discusses good sized differences between the two periods of time in methods of communication and the cultural context. The discussion additionally compares three points of analysis. First is the different skill of communication of old and historic Far Eastern. Second, will involve the medium of communications set apart from every other. Time-space between the two artworks led to a divergence in the ways of communication used at some point of the two periods. The third will be historical and cultural contexts of the two times that show people of different time value different things.

Analysis

Figure 1 is a painting from the ancient Greeks that demarcates the fundamental nature in the ancient Greek where animals used to gather freely. The figure presents boar hunt from the Tiryns that was painted in the 1300 BC. However, the second figure (figure 2) represents the earliest classical art linked with the Etruscan kings and the established of the Republic in 509 BC. The figure illustrates the military success of the king. With these two images, one can identify the absolute difference between the two pieces of arts. About communications, the first figure (figure 1) illustrates the old way of life that animals lived. They depended on nature for food with hunting being the main activity that provided their food. On the other hand, in the second figure (figure 2), elucidates about the ancient paintings that were commonly used to draw things on the walls and had homespun vitality.

As indicated in the second figure (figure 2), the Greeks relied on the marble stone as the foundation of their identity and the origin of the universe, the power of this environment provoked its narratives and the people of Greece up to date live near the sea. The Etruscan and Roman, on the contrary, drew paintings on the walls seemed to speak to content individuals who are depicted on the walls with smiling faces reclining on banquet couches, celebrating life. Tombs were also painted with banquets.

The work of art between Greek, and the Etruscan and Roman differ in the historical and cultural context. The pursuit of knowledge and reason was the main struggle of humans as per the Greeks; this was well portrayed by Greeks artists. People were considered the greatest creation of gods in the natural world. The Greeks believed in human’s potential to find self-awareness and in beauty and simplicity as shown in their art and architecture. They were open to change and experimentation and thus were able to learn from near eastern artists and those from Egypt. On the other hand, by the 3rd century, the power of Etruscan city-states fell to the Republic centered in Rome. The Etruscan and Roman worked on expanding territories in that all directions that led to Rome. Many cultures were assimilated into the city and residents brought their religions and customs from far and near east and western states. Rituals were second to the official state religion of Rome. Nonetheless, the city grew in its internationalism as did its art.

Bibliography

"Art in Ancient Rome - Crystalinks." Crystalinks Home Page. Accessed May 1, 2017. http://www.crystalinks.com/romeart.html.

British Museum, Lucilla Burn. The British Museum Book of Greek and Roman Art. New York: Thames and Hudson, 1992.

Kaderka, Karolina, François Queyrel, and Gilles Sauron. Les frontons figurés des temples de Rome l'iconographie et la signification - le contexte et la perception. Lille: Atelier national de reproduction des thèses, 2013.

"Minoan and Mycenaean Greek Painting - Quatr.us." History Facts/Science Facts - Quatr.us. Accessed May1,2017. http://quatr.us/greeks/art/painting/bronzeage.htm.

Wilkins, David G., Bernard Schultz, and Katheryn M. Linduff. Art Past, Art Present. New York: Harry N. Abrams, 1997.

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