Greek and Roman sculpture

Greek and Roman Sculpture are often closely linked in style and execution. However, they are differentiated as two forms of art by some outstanding features. While Greek sculpture is focused on the aesthetic and artistic expression and representation of the idealized human body, Roman sculpture is more focused on the way that the human figure expresses a sense of power, control and dignity, as a reflection of a superior civilization. These aspects will be discussed in this paper

The examples of Roman sculpture chosen are the Sculptural portrait of Philip the Arab and the Portrait of Faustina. The intentionality of Roman sculpture can be clearly seen in the artistic appeal of the sculptural portrait of Philip the Arab, which depicts a figure of power and control.

Source: (http://www.hermitagemuseum.org/html_En/03/hm3_1_3b.html)

As one commentary notes of this sculpture, "...cruelty and perfidy were combined with courage and resolution in Philip's character" (Sculptural portrait of Philip the Arab.

What is striking about this sculpture is the way that the sculptor has created a sense of cool and dominating command in the intimidating gaze of the subject. From a more aesthetic point-of-view, the artist has expertly portrayed the physical characteristics of the subject and has focused on the expressive heavy brow and structure of the visage.

It is also noteworthy that there is an economy of design and execution that provides a telling and powerful portrait, with a minimum of carving. Through this economy and mastery of sculptural execution the artist achieves the desired effect without elaborate carving and modeling.

In a similar vein, the Portrait of Faustina depicts an elegant if rather haughty figure. As in the above example, the facial features of the figure are regal and aristocratic. The aesthetic appeal of the work lies in the way that the artist has managed to capture the distance and regal pomp of the subject.

The Greek sculpture, Diskobolos, or "discus thrower" shows a very different emphasis to the Roman sculptures discussed. The emphasis in this sculpture is not on personality or personal or cultural power but on the power and elegance of the human form. It is a pleasing aesthetic study of form in action.

Source: (http://academic.reed.edu/humanities/110Tech/BodyLanguage/html/diskobolos3.html)

Central to the aesthetic qualities of this sculpture is the sense of rhythm, balance and poise that provides the sculptural appeal of the work and which also epitomizes so many Greek works of art. "...the moment captured in the statue is an example of rhythmos, harmony and balance" (Encyclopedia: Discobolos)

The Dying Gaul, sometimes known as the Dying Trumpeter, is a "...ancient Greek statue of a dying warrior lying on the ground supporting himself with one arm. The Romans later made a marble copy of the Greek original." (Dying Gaul) This sculpture is well-known as one of the most poignant classical expression in sculpture of death and dying. "After 50 years of desperate and unceasing battle, victory over the Gauls was commemorated by this gravely realistic depiction of a tragic hero. With classic details revealing the Greeks' admiration for strength and bravery" (Dying Gaul Sculpture) the Greek emphasis on form and the esthetic representation of the human are also clearly evident here.