“ The Flavian Dynasty (69–96 A.D.).” (October 2000)ĭepartment of Greek and Roman Art. “ Geometric Art in Ancient Greece.” (October 2004)ĭepartment of Greek and Roman Art. “ Death, Burial, and the Afterlife in Ancient Greece.” (October 2003)ĭepartment of Greek and Roman Art. “ Ancient Greek Dress.” (October 2003)ĭepartment of Greek and Roman Art.
“ The Antonine Dynasty (138–193).” (October 2000)ĭepartment of Greek and Roman Art. 310 B.C.).” (July 2007)ĭepartment of Greek and Roman Art. Additional Essays by Department of Greek and Roman Artĭepartment of Greek and Roman Art. Ann Arbor: University of Michigan Press, 1984. Roman Copies of Greek Sculpture: The Problem of the Originals. Princeton: Princeton University Museum, 1994. Greek Sculpture in the Art Museum, Princeton University: Greek Originals, Roman Copies and Variants. Hemingway, Sean "Posthumous Copies of Ancient Greek Sculpture: Roman Taste and Techniques." Sculpture Review 60, no. New York: The Metropolitan Museum of Art, 2000–. “Roman Copies of Greek Statues.” In Heilbrunn Timeline of Art History. They replicate statues made by Greek artists some 500 years earlier during the fifth and fourth centuries B.C.ĭepartment of Greek and Roman Art. All the marble statues in the central area of the Mary and Michael Jaharis Gallery at the Metropolitan Museum are copies made during the Roman period, dating from the first century B.C. Since most ancient bronze statues have been lost or were melted down to reuse the valuable metal, Roman copies in marble and bronze often provide our primary visual evidence of masterpieces by famous Greek sculptors. By the second century A.D., the demand for copies of Greek statues was enormous-besides their domestic popularity, the numerous public monuments, theaters, and public baths throughout the Roman empire were decorated with niches filled with marble and bronze statuary. The meaning of the original Greek statue often lent beauty, importance, or a heroic quality to the person portrayed.
Some Roman sculptures are a pastiche of more than one Greek original, others combine the image of a Greek god or athlete with a Roman portrait head. Since copies in marble lack the tensile strength of bronze, they required struts or supports, which were often carved in the form of tree trunks, figures, or other kinds of images.Īlthough many Roman sculptures are purely Roman in their conception, others are carefully measured, exact copies of Greek statues, or variants of Greek prototypes adapted to the taste of the Roman patron. Solid plaster casts with numerous points of measurement were used for marble copies. Artists used hollow plaster casts to produce bronze replicas. Molds taken from the original sculptures were used to make plaster casts that could be shipped to workshops anywhere in the Roman empire, where they were then replicated in marble or bronze. To meet this demand, Greek and Roman artists created marble and bronze copies of the famous Greek statues. Soon, educated and wealthy Romans desired works of art that evoked Greek culture. Impressed by the wealth, culture, and beauty of the Greek cities, victorious generals returned to Rome with booty that included works of art in all media. In the late fourth century B.C., the Romans initiated a policy of expansion that in 300 years made them the masters of the Mediterranean world.
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