TIME magazine printed an article on Sainthood announcing the canonization of four new saints to the Catholic liturgy. Aside from noting there four saints, the article went on to describe a brief history of saints and martyrdom. This reminded me of the San Vitale, as one of its purposes was as a martyrdom, a place where a saint is buried. What i was confused about was the Charlemagne had San Vitale built partially i hope that he would someday be named saint, however if San Vitale was already being used as a martyriam, is a chapel allowed to be used to honor more than one saint of martyr. i was also wondering, the article described a martyr as someone who died under persecution of Jesus Christ. All saints weren't martyrs, but were all martyrs made saints? Also, according to the article, only the Pope had the power to declare someone a saint, so i wonder if it was before Charlemagne was declared Holy Roman Emperor by Pope Leo III hat Charlemagne thought he was going to be declared a saint or after this high recognition that he thought it was a possibility. And if he did think it was a possibility, after the new rules of someone being declared a saint were set in place and written to include the four necessary miracles, did he put forth an effort to perform miracles, or think that the would just come naturally?

TIME magazine printed an article on Sainthood announcing the canonization of four new saints to the Catholic liturgy. Aside from noting those four sai

Week 9: Sneh Shah- 'How Art Made the World'

I am not in great touch with media sources like TV, newspaper here. But I like to watch and download BBC/History channel documentaries on net. I found a wonderful documentary on "How Art Made the World". It starts with Egyptian arts and their unrealistic rigid sculptures. Greek adopted Egyptians culture of making statues and adds their style to create first ever realistic human statues. But this was just not enough. They add element of exaggeration to their art of work which made those sculpture unrealistic but more attractive. I have included a video which describes all of this. And it will help in exams too.

http://www.youtube.com/watch?v=rT-_Sim2AbM

As art progresses exaggeration became very important part of it. I think even today we see exaggeration in Art everywhere. Because that type of art attract us more than simple original art. Movies like Spiderman, Hulk, and Batman show us unrealistic human forms which are not at all possible. In some fashion show they wear clothes which make model look gorgeous but actually those clothes are not wearable. At some gardens or public places, they prefer unrealistic human figures for statues. It is our tendency to find more human than human in arts which lead us to this form of art.

Week 9: Sarkis- Music and Byzantine Art

Although this may not be relating to something in the modern day with the art we are studying, I think it is interesting to show people the music, and particularly the music notation of the middle ages. As we have seen in liturgical writings, illuminated manuscripts were all the rage back then, and the same is true for music. during the middle ages, music began to become more organized in terms of notation, and well, general organization of sound. As in everything else from that time period, most music was religious, and the manuscripts of the music reflect that religious aspect. With regards to music organization, a man by the name of Guido created what is known as the "Guidonian Hand." In this, he assigned names and syllables to musical notes, and so was the beginning of music in the way we know it. Also, even the actual music notation looks very artistic, and was understood in shapes and general contour of the melody rather than actual notes. Here's a link to some examples of sacred music manuscripts: http://scholarship.rice.edu/handle/1911/13014. All the little black squares are the "notes." Another interesting thing is that music also started taking on another shape, literally, where the music staff, or music itsefl was being written in shapes.

Week 9: Braden Currier: Sports Art

I am continually impressed by the way an artist can highlight the success and most famous moments of an athlete's career and the legacy they left behind. It is not uncommon to see artistic depictions of athletes in sports magazines rather than simple pictures. By portraying an athlete with a painting or sketching it can be more abstract and show the viewers more than merely a photo, which simply captures a moment of success. Artists can use their gift as a means to connect the athlete's past contributions to the game and the impact those contributions will have on the future of the sport. Furthermore, where pictures merely capture a moment, art can potentially provide insight into an entire career, a player's personality, a game, a feeling, etc. The use of art as a means of enlightening viewers on a player or team can be very effective, powerful, and meaningful. A few pictures you can look at are on the following sites: http://www.buysportsart.com/images/joemontana.jpg and http://www.courtenaysfineart.com/investment_opportunities/Igor_Semeko/is1_muhammad_ali.jpg

Week 9: Sharon Kim: Churches-past and present

Palace Chapel of Charlemagne

Over the past week, I tried to identify some forms of art that I could blog about. Obviously, there was plenty wherever I went, but nothing clicked, and intrigued me enough to write about. On Sunday, I went to church like normal. After I left, I realized that the church reminded a lot of what we are learning currently. The church has a few elements from the churches from the Middle Ages. There are aisles between each set of pews. There isn't a definite "apse" that is perfectly visible. But there is a stage, stairs leading up to the stage, and a set area for the podium and the space that leads up to the stairs. There are no stained glass windows, and the building has an elevation of modest height, unlike the typical Gothic churches that have soaring heights with windows to let in an ample amount of light. The overall layout of the church is very symmetrical, in the same of a cross, like many Gothic churches. This is the main building of the church I attend. However, other buildings are much more modernized. Another building has no pews, but seats aligned next to each other. The layout is not as symmetrical, as is much shorter in width. There are crosses above the stage in each building. The churches have changed since the Middle Ages, but some elements are still maintained. It's interesting how I've gone to church so many times, but I failed to realize the art and beauty of each building. Taking this course helps me see remnants of art from previous cultures.

Week 9 Discussion Obama and Mccain "visions on the arts"

The LA times recently started a blog dedicated to theater, art, music, etc. As I was flipping through the blog, I noticed a post which talked about Obama and Mccain and their views of the future of art in America. It was really interesting to learn about how Mccain is not very interested in discussing the arts whereas Obama has made it part of his "party platform". The information presented in this blog is also provided on Obama's official website. Obama's arts policy statement states that there will be a call for increased government funding for the National Endowment for the Arts. I chose this topic because as we learn more and more about art history and the arts, I believe that being cultured is a very significant part of self development for everyone. For example, during the Renaissance, the Medici family were patrons for several of the famous Renaissance artworks. I feel that even though they were a very powerful family, they also had a love for the arts. In history, we have learned so much from looking at a piece of art work; culture, politics, etc. I also think that people in the past were more interested about artwork. It seems as if several people have lost touch in current day society. Lastly, politicians in history were quite enthusiastic about art. Many wanted to be painted or even wanted a bust made.

Week 9; Monica S.; Gothic Cathedrals

I have officially failed at finding art relating to some lecture in the media this week. I tried to look at billboards, the little television that I watched, the random stuff posted in my dorm and I have not found anything. I do have to say that in all of this observation I have done this week I have found the small details of various buildings, like Bovard, and the places I have been, like Notre Dame de Paris. Along with the lecture and these observations I have officially realized a love of mine of Gothic cathedrals. I am not sure exactly what it is about this architecture or historical reference, but I just feel entirely enthraled in this subject, more than any other up to this point in this course. When I went to France for two weeks this past June I think I took more photographs of cathedrals and churches than anything else, specifically I took 200 pictures of Notre Dame by itself. The building techniques and art just amazed me and made me feel like there was so much beauty in the world and like there are things in the world so much bigger than the daily routine we live. Being non-denominational myself I can see and feel how these churches were built to be places of comfort and belief and of godly proportions and acted as a way to keep people in belief and loyal to the church. I stand in a cathedral and feel like I want to believe. I stand there and just feel pure wonder at the construction and the history and I cannot help but say "wow". Now I feel this need to pursue this amazement and wonder here in the U.S. and I plan to find at least one cathedral in Los Angeles that I can go to one day and just stay all day admiring the architecture and the art. I find it so entertaining that I can find the same passion I have for chemistry and calculus and engineering and diabetes technology that I can find when I talk about Gothic cathedrals.

Week 9: Malia Paresa Graphic art representing Obama and McCain

I am constantly amazed at the effect that art has on the presidential campaign. Art can be used as a visual representation of the ideals that each of the presidents represent. In many ways I feel that using images is often one of the most effective methods to communicate information. In this graphic, found in GOOD magazine, it illustrates all of the corporate sponsorships and affiliations. This visual of all the companies is not only pleasing to the eye but it groups the information in a way that it can be compared easily. By illustrating the sponsorships, a citizen can comprehend the information in an organized way, much easier than if their sponsorships were listed off in a debate.

week 9 What do John McCain and Jean Michael Basquiat have in common? Alexander Roos

What do John McCain and Jean Michael Basquiat have in common?

The late painter, who made his name in the eighties, was famous for his paintings that resonated a frenetic, wild, and unpredictable style. His works appear to have been painted by a man on the edge and some have said often out of control.

When I see paintings by Basquiat I am reminded of John McCain’s disturbing and panicky campaign style during this election homestretch. It is a visceral response for me.  In the early day of the financial crisis McCain’s behavior could be viewed this way: “Fire the S.E.C. chairman and replace him with Andrew Cuomo! Convene a 9/11 commission to save Wall Street! Don’t bail out A.I.G! Do Bail out A.I.G! McCain offered as many economic policy reboots in a month as President Bush offered ‘Plans for victory’ during the first three years of the Iraq War” (Rich).

McCain’s behavior in the second debate was also remindful of Basquiat.  “He reenacted the troubling psychological cartography of his campaign ‘suspension’ by wandering around the stage like a half dotty uncle vainly trying to flee his caregiver.  After the sneering and eye rolling voters could see the seething, impulsive nominee isn’t temperamentally fit to be president”(Rich).

Key words: “seething,” “impulsive;” perfect words to describe the work of Basquiat and the behavior of McCain.  View this typical Basquiat painting:  it is like the man’s brain is exploding. With an artist, such inner turmoil feeds the creativity of the artist.  With a President it could be dangerous.

“He Just Can’t Quit” by Frank Rich ,  Op-Ed Page NY Times,  September 19, 2008

 shopping.yahoo.com/p-Jea#351707

                Assessed October 24, 2008

week9: Seung Baik: Ara Pacis Museum

Ara Pacis Museum was designed by American architect Richard Meier. He is well known for his rationalist designs and the use of the color white.

However Ara Pacis museum has been subject to much controversy and criticism of Ara Pacis being modern architecture in ancient Rome.

For my point of view, Richard Meier intended to bring openess, transparency, lightness, use of modern materials but at the same time it's Rome. Rome is a city of travertine. Travertine seem to be as Roman stone and natural material to also use, as well as glass. Since the Ara Pacis was moved to the site, since it was taken from another location, and relocated here, it seems to appropriate to also then look back at where it was and find out what it was about that place. Then we can also in a sense that we can relate to. We are not only relating to the present situation of Ara Pacis but in a sence looking back to even before it was here in order to try to bring more of it here and to realize that this life moves on. First it was in one portion of Rome and then here now it has new museum. It's all part of that. And It seems that was appropriate to try to express in the architecture of what he was doing.

Week 9: Jennifer L.: Art in Life

Aleca had mentioned finding something artsy even in science, like biology. Funny thing. The next day in my biology class, my professor presented us with a view of the Maldives atolls from space. It was amazing. They looked like a Stonehenge created naturally by the sea! So I guess there really IS art in everything!

Week 9- Nicole Martin- "The Getty Museum"

Today I went to the Getty Museum and was excited to find an exhibition on Medieval portraiture and illuminated manuscripts in the Northern Pavilion of the museum.  In real life, these manuscripts were much more impressive.  When looking at them up close you can see all of the tiny details and I wondered how it would ever be possible to create such tiny designs without the help of technology.  In relation the the "Word and Image" article by Diebold, seeing the illuminated manuscripts in real life also made it clear how the illiterate could use the pictures in the manuscript to understand the stories in the Bible.  "The Madonna of the Burning Bush" from the Book of Hours (Provence, 1480) is an example of a manuscript page that would help someone who could not read Latin understand the story.

I also enjoyed the section on Medieval portraiture, something that we have not yet looked at in class.  As we have seen in other periods, the main purpose of Medieval art was not to depict the subject as they really appear, but rather to show their social status, religious convictions, or political positions through clothing and objects that held symbolic meaning.  There was also a section in the exhibit that placed modern portraits next to medieval portraits and drew comparisons between the two.  I enjoyed this section of the exhibit because it helped highlight the important features of both portraits and contrast the different historical periods.

Week 9:Nobu Fujioka:California Academy of Sciences

I visited California Academy of Sciences in San Francisco last weekend on an architecture field trip. This museum was designed by Italian architect Renzo Piano and completed in 2008. Prior to the trip, we were introduced by our instructor images of the building's rectangular form and hemispherical extrusions on the flat roof, which serve as a roof garden. According to Renzo Piano's official website(http://rpbw.r.ui-pro.com/), the primary goal of the building is to provide a modern facility for exhibition, education, conservation, and research under one roof according to sustainable design strategies. Sinse the ecological roof was so unique and somewhat futuristic in form, I expected the interior to be as innovative as well.

However, what I encountered in the hallways were a series of extremely simple Greek columns, not even Doric, with plain capitals. They seemed to respond to the thinner steel columns across the corridor. I became curious of the architect's intention of inserting those Greek columns in a museum dedicated to science and ecology that appears to have little relations with Greek architecture.

Perhaps the Greek columns contributes to the monumentality of the building in the interior, while the half-domes on the roof create a unique form in the exterior. Or maybe they are a reminder of the past, the origin of science and technology, and showing a connection to the exhibitions that are mainly related to nature, such as a rain forest, aquarium, and planitarium.

images from top:http://static.zooomr.com/images/3682814_bd83f628d5.jpg

http://rpbw.r.ui-pro.com/

Katharine Reiner - Week 9 - Joe the Plumber Fan Art

While we discussed this in class a while ago, the portrait of George W. Bush that we looked at in class struck me in such an interesting way.  How does that face inspire confidence? What is it about a flag that brings us a sense of piece and security?  So, following campaign news, I was a bit shocked to find a link to "Joe the Plumber Fan Art."

It was just so interesting to me to find the juxtaposition of this image of an Apollo-like plumber with the backdrop of the American flag. I'm not sure if this falls under cartoon, propaganda, or what, but I thought it was an interesting thing to share.

Week 9- Art in the News

In this month's edition of Los Angeles Magazine an article ran about the artist behind the Obama "Hope" posters so commonly associated with his current campaign.  I was surprised to learn that the artists behind the "Hope" poster was the same one behind the infamous "Obey" posters of Andre the Giant that have appeared in an almost guerrilla graffiti style around Los Angeles in the last several years.  The artists by the name of Shepard Fairely is a Los Angeles based "street" artists.  What surprised me the post about this article is the fact that Mr.Fairely had been cited on a number of occasions for illegal tagging and was then able to capture the national spotlight with his amazing poster of who could be our future president.  

week 9: Jen Rohrs: art in the media

There is an original series on the Sundance channel called "Iconoclasts." Basically the show pairs up two modern innovators and gives them the opportunity to talk to each other about the driving forces behind their work.  I had never heard of this word when Professor Howe asked us to define it and the basic google definitions all dealt with the breaking of images, and opposing icons.  When she asked us in class for the modern connotation I had no idea that it would be so positive, meaning something like an innovator or revolutionary.  I think it's interesting that since first noticing this show I seem to see adds for it quite often and the word has now become part of my vocabulary.  I think its also interesting how the word that comes from a historically religious form of art can change to such a secular and revolutionary word today.   

Week 9: Mariel Camiling: Art On TV

Since this art history class started, I have noticed more forms of art while watching television. Different television shows have different forms of architecture based on where the show is supposed to be located. For example, certain characters on Gossip Girl sit on the steps of the Metropolitan Museum of Art during their free time at school. I never really thought about the architecture of the museum because I was too focused on what was going on during the show. However, now that I looked up what The Met is, I noticed that the architecture of the museum has some characteristics from the Classical Period in Ancient Greece. It has tall columns with volutes at the top signifying an Ionic style. The building looks very grand and of course contains many works of art inside. Overall, I thought it was interesting how a television show filled with teenage drama could make a reference to art.

The recent presidential campaigns have been quite entertaining up to this point, and I have noticed a focus develop throughout their course. It would seem that one candidate seeks to emphasize his age and experience in order to qualify himself for the presidency while the other attempts to focus on his youth as his strong point. This preoccupation with age and experience made me think of the Romans and the Greeks in terms of art. I draw a parallel between the first candidate mentioned and Roman art because age is taken for wisdom, and a tremendous amount of importance is placed on emphasizing the aging process, and being old. I draw another parallel between the second candidate mentioned and Greek art because both are meant to embody and ungodly youth and freshness.

Week 8: Sharon Kim: Diebold

The assigned reading was very interesting. Although some parts were confusing, I thought it helped in my knowledge of Christian art. This article flowed well, and integrated well with Howe's previous lecture. Reading and learning about this material is interesting because I never knew about carpet pages, and the iconography that comes with Christian art. As someone who's familiar with the Bible, this type of information is intriguing. I particularly enjoy seeing which symbol/animal represents which apostle--John and eagle. I think it's interesting how these carpet pages, manuscripts, and "incipit" pages bring out the characteristic of the text, as well as the author of the gospel book. The author of the article includes comparisons between the culture of our present time and that of the Middle Ages. This segment was helpful in teaching how we would see their art, compared to those in the Middle Ages. Overall, the Christian art portrayed in our lectures and reading was colorful and symbolic. Not everyone was privy to see them, which signifies its sacredenss.

Week 8; Monica S.; Medieval Manuscripts - Diebold

I feel like this reading for this week is more of a supplement to lecture than the previous articles. What I mean is that the reading seems like much more history about the cultures of the scribes and less about the actual manuscripts and the art involved with them. However, I would say that this history is necessary to understand the origins and the reasons behind the art on the carpet pages and the evangelists' pages. The question of whether these manuscripts were for the illiterate is very valid. Without reading this article I would have believed that they were for the illiterate, but because this states that most of the manuscripts were protected with metal covers and then stowed out of reach or sight sways my opinion. I find it very strange that the scribes would go through so much work to makes the manuscripts and then keep them out of use or sight to most anyone. This defies the point of iconography and connecting words with pictures for comprehension. I also found the "magic" of words to be very interesting. I like the fact that Diebold brings into the article the difference between our culture and the one of this time and the fact that we, as readers or students or scholars, have a hard time believing that words could be so magical because they exist so much in our lives, but that the pure existence of them to these people was so great and overpowered their meanings or legibility.

Week 8: Jen Rohrs: diebold reading

When reading this week's article I was a little bit confused about the terms referring to people in different areas during the Middle Ages.  I've never really studied this time period and in general I thought that the term anglo-saxon referred to white Christians, however, in this article I think that they are referring to just people from the area around England and Ireland and those areas.  I'm also still confused about the Mediterranean art that we are comparing it to.  I think that this is the area around where we have been studying with Rome and Greece and everything, but I would just like some clarification because I don't know very much about this time or the terms. 

Week 7, Tyler Garnett

I found this weeks readings on the Hagia Sophia to be some of the most confusing readings to date. I cannot tell if it was the author's writing style, or another issue, but it was difficult for me to read. One point that I found to be interesting, however, is that the design and construction of the Hagia Sophia were not produced by professionals. Coincidentally, the structure of this building was faulty, and the dome collapsed on occasion. It seems that this was the trade off; impressiveness of design for architectural stability. In terms of the readings on basilicas, I found it intersting to learn that these structures, which grew to become massive Christian churches, were not intended for religious purpose in its original context.

week 7: Jen Rohrs; Hagia Sophia

I personally think that Muslim Mosques and buildings similar to that are the most beautiful pieces of architecture.  For the most part I think that it is because their rounded elaborate forms are so different from the usual colonial architecture that surrounds me in Boston, where I live. They seem so different and foreign to me that I can't help but to think that they are more beautiful than the traditional Christian churches that I am used to seeing.  Even going to Italy to the the longitudinal planned basilicas was not as interesting to me as traveling half an hour from where I live on a high school field trip to a local Mosque.  I think that because these buildings are so foreign to me i figured that the Hagia Sophia was also just as removed from my own cultural framework.  However, when I was reading the article by Krautheimer it hit me that the only real changes that the Muslim people made the the site were the minarets.  It seems strange that the rest of the structure, which seems so different than how I think of traditional Christian churches, started as a regular basilica.  It just seems strange to me that this building appears so different than my stereotypical ideas of what a basilica should look like.  And that even in its original form it maintained that elaborate decoration and dome shape. This applies to other centralized plans of architecture as well, but I think that it sticks out more with the Hagia Sophia because of how different its use is today even tho it maintains the dome form of its original purpose. 

Week 7: Braden Currier: Basilica's

I think it is an interesting point that the Basilicas had different structures. When I was in Europe I saw a lot of Basilica's and it was something that I noticed but I did not think much of it other than merely realizing it. I never really thought about why this was the case and then as I was reading Stalley I noticed that he said said: "what was expected of imperial patronage was not so much uniformity as an appropriate degree of magnificence, a magnificence that, in contrast to the pagan temples, was lavished on interiors rather than exteriors." This made me kind of understand that what is important is not the differences between their structure and interior but rather the one thing that they all had in common, their radiance. My favorite basilica that I saw is the Basilica of St. Marks in Venice Italy. Here is a link: http://www.sacred-destinations.com/italy/venice-san-marco.htm.

Week 8: Sharon Kim: Dadaism

Because our course is covering "Foundations of Western Art," I don't think that we will cover modern art of the twentieth century. But I still wanted to talk about it. One form of modern art is Dadasim. This form of art started as a protest to end all wars, World War I specifically. Looking at Dadaists, the question of what makes art often rose. Most of the art from the Dada movement rejected the cultural norms and created new and inventive forms of expression. My favorite artist, and the father of Dadaism, is French artist, Marcel Duchamp. While he did paint, he created art by putting objects together--"readymades," such as mounting a bike wheel on a kitchen stool. His most famous piece of art was a readymade of a porcelain urinal he signed R. Mutt. Above is a picture of his piece, "Fountain" (1917). Duchamp's new unconventional style of art opened the doors for other avant-garde forms of art. I really like this type of art because it is so unorthodox. Seeing how a urinal or random objects put together can be declared as art is amazing because it shows how innovative and creative people can be. There is so much more than can be done. The art of Dada may be crazy, or just ridiculous, but it is still art, and there still needs to be respect to shown to the Dadaists and their pieces. To find out more, click on Dada.

Week 6: Melissa Purner

I couldn't help but think that the reading by Nodelman was bland and hard to follow.  In contrast I thought the work by Kemp was much more accessible to those who are not as formally educated in Greek and roman art.  The point about the art work in the Roman Empire being propaganda was very valid,espically in the Cesar example, as he stands proudly with his arm out facing Rome and his warrior chest plate.  I too wish I could see the Greek works for what they originally were, due to the fact that details may have been left out during the copying.  

Roman reconstruction of Greek art

In terms of the reconstruction of Greek art, I too have been curious as to the appearance of the original Greek works since some things must have been " lost in translation" as Roman copies were made. The more that I think about it, however, the more faith I have that the Roman copies closely reflect the originals because the romans did value their true beauty. In fact, Welch states that Greek sculptures were put on display to be admired by the Roman populace as a whole (39). In my opinion, it would be this admiration that would keep the Roman "copiers" honest in terms of remaking these works of arts. That is not to say definitively that the Romans did not put their own influence into the copies, but if the art was truly appreciated it seems logical that they Romans would keep the copies true to form.

week 6: Jennifer L.: Augustus statue

I just remembered how Prof. Howe mentioned in class that most art during the Roman Empire was somewhat propaganda art. With the Augustus of Primaporta statue, this seems to be evident. I was just thinking about what a great emperor he would be if his statue was completely true. A lineage from cupid, which shows he is loving. A breast plate showing he is a great warrior. A stance showing power. And an ageless face and body showing youth and strength. This statue really "sells" him as a great emperor...even though it was created after his death, which may have made the statue even more important to the audience....maybe showing what the next emperor should be like?

Week 6: Malia Comparison of Arthur Evans and the Romans

From discussing the way that the Romans practically altered all of the original Greek sculptures that we see today as Greek, I couldn't help but emphasize the way that this is similar to how Arthur Evans rebuilt Knossos. I find it amazing that we look at both the Palace at Knossos and many Greek sculptures through the eyes of its reconstructors. I saw such a strong connection with the reconstructions done by both Arthur Evans and the Romans. It is amazing that we base everything we learn about Greek art on a Roman copy, and it really makes me wonder how different the original were from the copies we look at today. I think it would be extremely interesting if we had that chance to go back in time to compare the original and the reconstruction. Through this comparison we may be able to learn a little more about the Roman culture by analyzing to what degree of creditibility the copy was constructing and how close the two models are.

Week 6 - Katherine Welch Roman Scripture

When reading “Roman Scripture” by Katherine Welch, I was very interested to learn about how Roman art is similarities to Greek Art. The use of bronze and marble elements was derived form Greek art as we have seen in the past weeks. It was interesting to learn that Roman art was considered “Roman” because of the subjects it represented from Roman culture. I was never aware of the period in which sculptural transformation took place and why it took place. The article explains that it brought about a large cultural change. The Romans gain a large amount of power when the conquered the Greek world. I am also very interested to learn about how there were different portraits. The later republican portraits presented more external traits, some highlighting flaws. The facial expressions presented were “approachable” and those of children were “consciously absent”. When reading about these portraits, they do not seem at all attractive. I have come to understand that our perception of art and its purpose is very different from that of the artist. The portraits of Roman women were presented as women who were in their fifties. The article suggests that this may be the time of her prime when she was partaking in the most important duties such as supporting the king and such. In today’s society, I feel that we would highlight a woman that was in her twenties because it signifies that beauty comes at a younger age. Roman artists felt otherwise. Lastly, every portrait displays that a person is of a certain social standing. In addition, the portrait allows us to analyze the person by his/her presence.

Week 6: Nodelman & Welch Readings: Liz Harmon

Nodelman describes Roman art (portraits) because for the first time in history Roman sculpture breaks from the Duces (Hellenistic) “God-Like” style of unrealistic appearance and uses the Realistic Veristic style that shows the subjects in the portraits later in life balding, toothless, and creases in the face which are characterized as the ‘system of signs’ and signals Roman style from Greek (Archaic, Classical or Hellenistic.)
Roman sculpture appropriated the three styles of Greek sculpture, Archaic, Classical, and Hellenistic. The artists drew upon the best of these three styles and manipulated them to express a range of messages that gave the sculptures a sense of heightened realism and individual presence. Roman artists also used elaborate narratives in marble relief to provide a visual account of imperial virtues. Historical relief used the Greek Classical style to bolster the civic image of the new imperial regime as it moved away from the republic rule.

Week 6: Nobu Fujioka, Nodelman Reading Response

In "How to read a Roman Portrait," Nodelman mentions that the Roman veristic portraits, which are mainly portraits of men in later life, are realistic in a way that they display physical characteristics of old men in detail. The wrinkles, blemishes, and balding symbolize the honor of the man's age, as the "ladder of public office normally allowed those who followed it to attain only gradually and after many years to such eminence." The hard-bitten expressions also imply suppressed emotions coming from the emotional strains of the Roman society. Although the portraits are descriptive of facial features, it is not a celebration of the individuality, but a celebration of self-discipline, unquestioning of social bonds, and painstaking conformity.
As opposed to the statue of Augustus from Prima Porta by Polykleitos, which celebrates Augustus' military and politcal might through his breast plate and dolphin and cupid at his feet indicating is heroic victories in war, the Roman portraits are representations of the emotions of nobles oppressed by war and its aftermath. The statues of Augustus from Prima Porta emits a direct message of his power and used for propaganda of the Roman Empire. On the other hand, Roman portraits are a little harder to decipher who and what is described. Through their grim look, viewers explore their emotions and the social background that affected the subjects of the portraits.

Week 6; Monica S.; Nodelman

I believe Nodelman encompasses the whole background and meaning of Roman portraiture in his essay How to Read a Roman Portrait, specifically in his statement, "The will to reach out actively into the world of on-going life and to accomplish specific purposes within it through psychological modifications imposed upon the observer is the central organizational principle of Roman art." He summarizes that Roman portraiture accomplished these impositions through veristic sculpture, Hellenistic-style art and late antique portraiture. Relevant to our lecture, Nodelman discusses veristic sculpture, including Unknown Republican from early 1st c. BCE, by describing this style as having "the intent to convey a clearly drawn and forceful polemical content" and to "call attention to their (aged men) long service to the state and their faithfulness to constitutional procedures." He also talks about the Augustus of Primaporta as reviving Greek Hellenistic portraiture with "his electrical gaze, through which the force of the personality is poured out, is a device borrowed from Hellenistic royal portraiture where it had denoted the heroized, superhuman stature of the kings." He also incorporates late antique portraiture like Gordian III from 238 CE and describes it like "an image informed by an awareness of, and full presence in, the concrete circumstances in which it is experience." Nodelman differentiates this style from the others by describing "the gaze of the great eyes, magnified now to tremendous scale turned frontally upon us with the full force of their attention, we encounter unqualified presence, no longer limited by empirical time, place or contingent experience," and as "absolute pure awareness, the principle itself, freed of all individualistic and subjectivistic determinations."

week 6: Jen Rohrs: Nodelman response

When reading about the symbolism in Roman portraits in the article by Nodelman i was struck most by his comment that "an insistent pattern of reoccurrence in the selection and handling of particular physical and characterological traits  that all these apperantly so individualized portraits finally look very much alike" (Nodelman, 12).  For a picture to be a portrait it must evoke the characteristics and memory of one particular person.  If it does not resemble only that one person then it can no longer be considered a portrait and it simply becomes a statue representation, like the statues of the Egyptian statues that used headdresses and hand positions to reflect their subject opposed to a visual representation of individualized features.  Even though, during the time of the Roman republic, the statues, such as the veristic portraits of the old republicans, were supposed to be portraits representing a single person, Nodelman remarks they they all look quite similar in the end.  I agree with this observation because while they may have attempted to draw out the wrinkles and old-age spots of one man, the convention of the time leaves each portrait with roughly the same general appearance.  Because these wrinkles and spots grew into symbols of patriotism and service to ones post in the republic, they were embellished and exaggerated to make the subject look as ancient and thus as patriotic as possible.  Much like the symbol of the fist in Egyptian times, these wrinkles, which when exaggerated hang on the same place on almost everyone's face, represented a higher position politically.  Therefore, it becomes difficult to call these portraits.  In my opinion, i think that to be called a portrait the piece of art should be free of all conventional symbolism. It should be an exact visual representation of the person.