Museum Project Formal Analysis

ARTH 1001 cogitateum clump Analysis Paper The Tiber mull everywhere fly advantage of the Nike of Samothrace Justinian and Attendants from San Vitale Adrienne Keiser TA- Anna, Tuesday Section April 23rd, 2013 The Tiber job, originally detect in the vicinity of the Tiber River in capital of Italy in 1885, is a product of the Greco-roman type era and is dated most the 2nd-1st snow BCE. This date and early(a) formal qualities of the form such as the pose, drapery and culture medium suggest that it was produced during the Hellenistic expiration of Greece and Asia Minor, and then imported to Rome at a ulterior date.The importation, copying, and public intro of Greek art were parkland from the start of papist conquering of Greek territories and throughout the papist Imperial era. The formal qualities of this piece, to be explored later in this exhibition, atomic number 18 comparable to those of the Nike of Samothrace in that they both exhibit the shimmertic, elabora te techniques common of the Hellenistic degree (323-30 BCE) that embrace a range of emotions, providing us with an over positioning, multi- sensory vex as we view these pieces.The qualities and subroutine of art during the Hellenistic Period were quite variant from those of the gnarled Era, to be further explored by comp are these ii cuttings with the Justinian and Attendants photomosaic from San Vitale in Ravenna, Italy. done a formal analysis of these cardinal deeds, the meaning, conclude and values of the culture that produced them give become pass on, and we can further designing the historical context of these two really different time periods. The Hellenistic Period is the time in the midst of the death of horse parsley the Great in 323 BCE and the emergence of the Roman Imperial Empire.Greek cultural power and regularise was at its bill, and there was keen prosperity and progress with the arts, theatre, literature, music, philosophy, science and archite cture. During this period, Greek culture, specify and language was spreading to other move of the world. This contri saveed to a wide variety in art, producing complex, individual and reckon kit and boodle, allowing us to enjoy them from all angles. Hellenistic art seeks expressability and a forcefulness of percentage points, foc utilise on the height of the twinkling by expressing the violence of movements.In great(p) statuary, Hellenistic art explores themes such as suffering, sleep, age, victories, and real, sexual seconds frozen in time. The Tiber study and the Nike of Samothrace both exhibit these qualities in numerous ways. The Tiber Muse is about four feet high school and constructed out of marble. The pose and arm situation of the subject suggests it is a sculpture of a muse caught in the moment of vie an instrument. Even though she is missing her head, around of her arms and feet/base, her pose is akin(predicate) to other known muses.The oval tear (near her ripe(p) arm) in her garment suggests a rare, iconographic tradition whereby musicians were represented with less restricting costume on their playing arms. Thus, this tear does non suggest an erotic encounter, besides alternatively a young female flexure over a rock, caught in the moment of playing an instrument. This ingredient of sculpture capturing an intimate moment in time is in spades a quality of Hellenistic sculpture. This statue projects into our space, and it is clear one needs to observe it from many different angles to fully understand it.This is very similar to the Nike of Samothrace, even though it is golosh to say the Nike statue projects into our space more intensely than the Tiber Muse. This is because the Nike of Samothrace was originally placed on the antecedent of a ship to commemorate a naval conquest, and then turned in to an elaborate fountain structure at the head of the Daru st painscase in the quintuplet in Paris. The Tiber Muse was meant to b e a smaller, more intimate piece that demonstrates the moment of a musician playing, whereas the Nike of Samothrace was sculpted to be a larger-than-life symbol of advantage and strength.Both the Tiber Muse and The Nike of Samothrace show a control of form and movement in marble, that scores a deliberate kinship to the space around the statues. In the Nike statue, the wind that has carried her and which she is fighting off, mental strain to keep steady, is the invisible complement of the figure and the viewer is made to imagine it. The Tiber Muses pose draws us in to her moment, and forces us to imagine all sensory elements of the space around herthe sound of the music, her motions of playing, and the air around her.In this way, both statues create this find of auditory drama as surface as a multi-sensory, overpowering experience that encompasses many Hellenistic art deeds. These two tempts both make us a participant while viewing, however, I would designate that the Tiber Muse reflects the range of real emotions and a more realistic view of raft than does the Nike statue, because the Nike was used to commemorate a conquest and was meant to be more symbolic, honoring a goddess and a sea victory, whereas the muse is unidentified and captures a more intimate, real moment.The Nike depicts a more supernatural experience that blows us away with its incredible deep undercuttings, shadows and Phidian sprint drapery. While the Tiber Muse also uses similar drapery techniques as well as deep undercuttings and shadowing, the Nike is seen as an iconic personation of triumphant spirit and the divine momently coming face to face with man. The Tiber Muses use of these techniques was to create an idealized portrait of a muse caught in the moment of playing, rather than to represent a goddess of victory and connection to the divine.This idea of capturing a raw, realistic moment and the movement from depicting the divine to portraying real pile became more appare nt later in the Hellenistic period, explaining why these two works differ in their single-valued function and meaning. Thus, although using similar mediums and sculpting techniques, the original contexts of these two works differ greatly, in that the Nike was meant to be viewed publically on a grand scale, and the Muse is smaller and was probably meant to be a private vaunting of ones social status or education.Although the Justinian mosaic in San Vitale is very different from these two statues in medium, time period and display of figures, the idea of connecting man to the divine is subsisting in this work as well. Here, the em regald on the robe of Justinian connects him to the divine, in that purple was considered a Holy color, often shown on representations of Christ. However, the purpose of this connection of Justinian to Christ was of propagandistic use, not to map a great victory and a triumphant spirit, as in the Nike of Samothrace.During the early tough Era, Justinia n hold from Constantinople, but expanded his rule into the west, qualification Ravenna a new wolframern outpost. He constructed San Vitale and the mosaics on the sides of the nave archade to display his ultimate rule and to portray himself as being to a higher place most citizens and having a close relationship to Christ. Some even go as far as to argue that he believed he was a descendant of Christ. The colours in this mosaic and throughout San Vitale were of handed-down tortuous style in that they are meant to disorient you and bring you into a different world.The method of using glass tesserae to create mosaics is also a creation of the Byzantine times. The portrayal of the figures in this mosaic is what makes this work differ greatly from the other statues explored earlier. The figures are flat, clearly two-dimensional subjects depicted with teensy-weensy difference in size, facial structure and human race anatomy. Their only difference between the figures comes from the color of the clothing or what they are holding. There is no clear portraying of human form, using brusque to no shadowing or drapery.This is due to the purpose and time period in which it was created. During Byzantine times, this portrait of Justinian and his ensemble was to demonstrate power to the illiterate people about the authority of Justinian Rule, thus making the original purpose of this work truly propagandistic. By exploring, analyse and contrasting formal qualities of the Tiber Muse, the Winged Victory of Nike of Samothrace, and the Justinian mosaic of San Vitale, we can deduce some(prenominal) conclusions about the purpose and historical contexts of each(prenominal) work of art.Although the two statues examined were from the same rhetorical period, each has its own purpose for being. The Nike of Samothrace is a brilliant Hellenistic display of the multi-sensory drama that a great naval victory entails by projecting into our space. Its purpose was to symbolize a great victory over struggle and divine help or grace. The Tiber Muse also exhibits those Hellenistic sculpture techniques that the Nike statue has, such as drapery and shadowing, but is a more realistic display of an intimate moment.Both show intense detail of human anatomy, but the muse doesnt have the divine element the Nike has, but rather a sensual element that brings us into her moment of playing music. The purpose of the Justinian mosaic was to demonstrate the fusion of his governmental and religious power, thus there is little attention to detail or the human form that is so pertinent in the two Hellenistic sculptures. whole kit and caboodle Cited Roberts, Christopher. How to grant and Date a Muse bust Garments, Marble Types, and the Tiber Muse in the Minneapolis form of the Arts.The Classical Association of the Middle West and South. N. p. , 2005. Web. 21 Apr. 2013. <http//www. camws. org/meeting/2005/abstracts2005/roberts. html>. Images of the Works of Art The Win ged Victory of the Nike of Samothrace 220-190 BCE, Hellenistic Period The Tiber Muse 2nd-1st Century BCE, Greco-Roman or more specifically, the Hellenistic Period Gallery G230, Acquisition Number 56. 12 Justinian and his Attendants from San Vitale in Ravenna, Italy 546 CE, Byzantine Era