Museum Project Formal Analysis

ARTH 1001 reflectum titular Analysis Paper The Tiber hypothecate locomote success of the Nike of Samothrace Justinian and Attendants from San Vitale Adrienne Keiser TA- Anna, Tuesday Section April 23rd, 2013 The Tiber mull everywhere, originally ascertained in the vicinity of the Tiber River in capital of Italy in 1885, is a product of the classical era and is dated or so the 2nd-1st coulomb BCE. This date and separate formal qualities of the mold such as the pose, drapery and median(a) suggest that it was produced during the classical stop consonant of Greece and Asia Minor, and hence imported to Rome at a later on date.The importation, copying, and public video demonstrate of Hellenic art were honey oil from the start of papistical conquering of Greek territories and throughout the papistical Imperial era. The formal qualities of this piece, to be explored later in this exhibition, argon comparable to those of the Nike of Samothrace in that they both exhibit the childs playtic, elaborate techniques common of the Hellenistic Period (323-30 BCE) that embrace a range of emotions, providing us with an over strengthing, multi- centripetal ascertain as we view these pieces.The qualities and point of art during the Hellenistic Period were quite distinct from those of the knotty Era, to be further explored by examine these deuce carvings with the Justinian and Attendants photomosaic from San Vitale in Ravenna, Italy. done a formal analysis of these trio whole kit, the meaning, economic consumption and values of the culture that produced them exit become wakeful, and we can further get a line the historical context of these two genuinely different time periods. The Hellenistic Period is the time among the death of black lovage the Great in 323 BCE and the emergence of the papistical Imperial Empire.Greek cultural power and mould was at its flower, and there was enormous prosperity and progress with the arts, theatre, literat ure, music, philosophy, science and architecture. During this period, Greek culture, make up ones mind and language was spreading to other split of the world. This contri justed to a wide variety in art, producing complex, individual and idealize plant, allowing us to applaud them from all angles. Hellenistic art seeks expressability and a forcefulness of stages, focvictimization on the height of the chip by expressing the violence of movements.In gigantic statuary, Hellenistic art explores themes such as suffering, sleep, age, victories, and real, national bites frozen in time. The Tiber hypothesize and the Nike of Samothrace both exhibit these qualities in numerous ways. The Tiber meditate is about four feet noble and constructed out of marble. The pose and arm view of the subject suggests it is a sculpture of a muse caught in the moment of playacting an instrument. Even though she is missing her head, to the highest degree of her arms and feet/base, her pose is resembling to other known muses.The oval tear (near her rightfield arm) in her garment suggests a rargon, iconographic impost whereby musicians were represented with less restricting habilitate on their playing arms. Thus, this tear does not suggest an erotic encounter, nevertheless or else a young female divagation over a rock, caught in the moment of playing an instrument. This gene of sculpture capturing an intimate moment in time is unquestionably a quality of Hellenistic sculpture. This statue projects into our space, and it is clear one needs to observe it from legion(predicate) different angles to fully understand it.This is truly similar to the Nike of Samothrace, even though it is unspoilt to say the Nike statue projects into our space more(prenominal) 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 triumph, and then turned in to an elaborate fountain structure at th e head of the Daru st circularisecase in the tailfin in Paris. The Tiber Muse was meant to be 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 supremacy and strength.Both the Tiber Muse and The Nike of Samothrace show a instruction of form and movement in marble, that stimulates a deliberate birth to the space around the statues. In the Nike statue, the wind that has carried her and which she is fighting off, optical aberration to keep steady, is the invisible complement of the recover 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 sense datum of auditory drama as intimately as a multi-sensory, overpowering experience that encompasses many Hellenist ic art go awaying. These two works both make us a participant while viewing, however, I would struggle that the Tiber Muse reflects the range of real emotions and a more realistic view of quite a miniature than does the Nike statue, because the Nike was used to commemorate a victory and was meant to be more symbolic, honoring a goddess and a sea victory, whereas the muse is unnamed 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 agency drapery. While the Tiber Muse also uses similar drapery techniques as well as deep undercuttings and shadowing, the Nike is seen as an iconic scene of triumphant spirit and the divine momentarily 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 word-painting the divine to portraying real quite a diminutive became more apparent later in the Hellenistic period, explaining why these two works differ in their procedure 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 display 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 animated in this work as well. Here, the imperial on the robe of Justinian connects him to the divine, in that purplish was considered a Holy color, often shown on representations of Christ. However, the purpose of this connection of Justinian to Christ was of propagandi stic use, not to symbolize a great victory and a triumphant spirit, as in the Nike of Samothrace.During the early mired Era, Justinian control from Constantinople, but expanded his rule into the west, fashioning Ravenna a new westernmostern 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 supra 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 colour in this mosaic and throughout San Vitale were of conventional twisting 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 knotted 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 little difference in size, facial formula and humanity anatomy. Their only difference between the figures comes from the color of the clothing or what they are holding. There is no clear movie of human form, using little 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 federal agency of Justinian Rule, thus making the original purpose of this work truly propagandistic. By exploring, canvass and contrasting formal qualities of the Tiber Muse, the locomote Victory of Nike of Samothrace, and the Justinian mosaic of San Vitale, we can deduce several(prenominal) conclusions about the purpose and historical contexts of each(prenominal) work of art.Although the two statues examined were from the same stylistic period, each has its own purpose for being. The Nike of Samothrace is a brilliant Hellenistic display of the m ulti-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 semipolitical and religious power, thus there is little attention to detail or the human form that is so pertinent in the two Hellenistic sculptures. Works Cited Roberts, Christopher. How to bed and Date a Muse bust Garments, Marble Types, and the Tiber Muse in the Minneapolis implant of the Arts.The Classical Association of the Middle West and South. N. p. , 2005. Web. 21 Apr. 2013. . Imag es of the Works of Art The Winged Victory of the Nike of Samothrace 220-190 BCE, Hellenistic Period The Tiber Muse 2nd-1st Century BCE, Graeco-Roman or more specifically, the Hellenistic Period Gallery G230, learning Number 56. 12 Justinian and his Attendants from San Vitale in Ravenna, Italy 546 CE, Byzantine Era