Visual analyst paper of arts
Jackie bao
unit2Etruscan.pptxART HISTORY 131
Etruscan
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Etruscan (c. 750-450 BCE)
context: geographic
fusion of native and immigrant (e.g., Lydian) populations
by 6th century BCE, controlled northern and central Italy
context: political
lack of political cohesion
cities never united to form a state
context: economic
highly skilled mariners merchants reached all Mediterranean ports
policy of expansion rivaled Greeks
context: cultural
contemporary w/ Orientalizing & Archaic periods in Greece
common linguistic ties & religious beliefs
Etruscan
architecture: temples
plan: similar to Greek stone gabled- roofed temples
roof peaked; terracotta-tiled wooden
columns: Tuscan order (Doric w/ base)
wooden; unfluted
3x human scale
restricted to front
plan: rectangular, brick walls
entrance narrow staircase at center
steps only on south side
raised podium
deep, front porch
cella divided into three rooms
Etruscan
Apollo (c. 500 BCE)
sculptor: Vulca
site: discovered in 1916 CE
scale: life-size (5’ 11”)
media: painted terracotta
narrative: labors of Herakles
pose: dynamic
right foot forward
supported by volute-like base
figure: refined musculature (e.g., calves) & proportions
face:
large bulging eyes (Mesopotamian)
“Archaic” smile
stylized coiffure
drapery: tunic and short cloak
reveals weight, mass & volume of forms underneath fabric
schematic/stylized pleats & hem
parallel
flame-like
Details of face from Etruscan Apollo (c. 500 BCE)
Etruscan
Sarcophagus from Cerveteri
date: c. 500 BCE
site: tomb
function: funerary
media: painted terra cotta vs. stone
scale: life-size
narrative: husband and wife
mood: convivial
figures: schematic
lower torso summarily modeled
unnatural transition to torso at waist
facial features:
almond-shaped eyes
benign smiles
long, braided hair
poses: full-length & reclining on banquet couch
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(Left) Detail of upper torsos; and (right) view from rear of Sarcophagus w/ Reclining Couple (c. 500 BCE)
Etruscan
Tomb of the Shields and Chairs
date: c. 550 BCE
function: necropolis
form: mound (“tumulus”)
see Mycenaean Treasury of Atreus
cut out of local limestone (tufa)
arranged along network of streets
scale: colossal (130’ diameter)
plan: subterranean multi-chambered
resembled domestic interior
axial sequence of rooms
central entrance
smaller chambers
large, central space
beds & armchairs
ceiling beams
framed doorways
windows
Etruscan
Tomb of the Reliefs
date: c. 3rd century BCE
site: Cerveteri, Italy
function: accommodated several generations of single family
form: domestic interior
walls and piers of tomb gouged out of tufa bedrock
walls: painted stucco reliefs
motifs: utilitarian & mythology
main funerary couch
household items
weapons, armor
busts of the dead
Cerberus guardian of Underworld
(Left) interior of Etruscan Tomb of the Reliefs (c. 3rd century BCE) vs. (right) interior of Egyptian Middle Kingdom rock-cut tomb at Beni Hasan (c. 2000 BCE)
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Etruscan
Tomb of the Leopards (c. 475 BCE)
site: Tarquinia, Italy
motifs: guardian figures
depicted on pediment of rear wall
narrative: banqueting couples
pitcher-and-cup bearers
musicians
tone: celebratory
color scheme: vibrant
figures: conventional
poses twisted perspective
skin tones
men dark
women light
gestures unnaturally large hands
Etruscan
Double-Flute Player (c. 475 BCE)
site: “Tomb of the Leopards” in Tarquinia
motif: musician/entertainer
narrative: banqueting
tone: celebratory
color scheme: vibrant
figure: conventional
outlined by dark contour
skin tones (men dark)
gestures unnaturally large hands
pose profiled; striding
drapery dynamically flowing
Etruscan
Tomb of the Lionesses c. 500-475 BCE
site: Tarquinia
subject matter: banquet & revelry
motif: guardian figure (pediment)
narrative: registered
figures: conventional skin tones
poses: rhythmic, spirited, exuberant
colors: vibrant
retain original freshness
harmonizing effect
Mural from Tomb of Hunting and Fishing (c. 525 BCE) Tarquinia, Italy
(Left) mural from Etruscan Tomb of Hunting & Fishing (c. 525 BCE) vs. (right) mural from Minoan “Queen’s Megaron” at Palace of Knossos (c. 1500 BCE)
Etruscan
Capitoline Wolf (c. 500 BCE)
scale: larger than life-size
medium: hollow-cast bronze
motif: mythological “she-wolf”
Romulus & Remus
founders of Rome
abandoned, twin sons of Mars (figures added 15C)
suckled by she-wolf
forms: naturalistic physiognomy and musculature
spare flanks
gaunt rib cage
taut, powerful legs
tone: psychic intensity
lowered neck and head
alert ears
glaring eyes
decorativeness:
incised fur
glass paste eyes
Details of the Capitoline Wolf (c. 500 BCE)
IMAGE INDEX
Slide 2: Map of Italy, c. 500 BCE.
Slide 3: Plan (left) and elevations (right) of an Etruscan temple (after Vitruvius).
Slide 4: Apollo, from Veii (c. 5o0 BCE), Terracotta, height 69”, Museo Nazionale di Villa Giulia, Rome.
Slide 5: Details of face from Etruscan Apollo (c. 500 BCE)
Slide 6: Sarcophagus with Reclining Couple, from Cerveteri (c. 520 BCE), Terracotta, length 6’ 7”, Museo Nazionale di Villa Giulia, Rome.
Slide 7: (Left) Detail of upper torsos; and (right) view from rear of Sarcophagus w/ Reclining Couple
Slide 8: Plan of The Tomb of the Shields and Chairs (c. 550 BCE), Cerveteri, Italy.
Slide 9: Burial Chamber from Tomb of the Reliefs (3rd century BCE), Cerveteri, Italy.
IMAGE INDEX
Slide 10: (Left) interior of Etruscan burial chamber from Tomb of the Reliefs (3rd century BCE); and (right) hall interior of rock-cut tomb at Beni Hasan, Egyptian Middle Kingdom (c. 2000 BCE), Egypt.
Slide 11: Interior of the Tomb of the Leopards (c. 475 BCE), Tarquinia, Italy.
Slide 12: Double-Flute Player (c. 475 BCE), detail of a mural painting in the “Tomb of the Leopards”, detail 3’ 3 ½ “ high, Tarquinia, Italy.
Slide 13: Musicians and Two Dancers (c. 475 BCE), detail of wall painting, “Tomb of the Lionesses,” Tarquinia, Italy.
Slide 14: Mural from Tomb of Hunting and Fishing (c. 525 BCE), Tarquinia, Italy.
Slide 15: (Left) Mural from Etruscan Tomb of Hunting and Fishing (c. 500 BCE); and (right) mural from Minoan “The Queen’s Megaron” (c. 1500 BCE), Palace of Knossos, Crete.
IMAGE INDEX
Slide 16: Capitoline Wolf (c. 500 BCE), bronze, 2’ 7½“ high, Museo Capitolini, Rome.
