Formal Analysis of Culture of Art among the Greeks and the Romans - Report Example

Formal Analysis Ancient paintings are used in the study of culture and traditions of a particular community. They also assist in giving information and period of occurrence about a particular society. Through the different styles developed in painting, architects have also found designs for buildings. Rich culture of art was found mainly among the Greek and the Romans. The Cult of Dionysus was introduced in the second century BC to Rome. The worshippers were called Bacchantes. Maenads were women who were inspired by Dionysus during worship. The painting covered an area of 54 square meters, with a height of 3.3 meters. The figures drawn had a height of 1.5 meters. It was referred to as Villa of the Mysteries. The artwork by was commissioned by the owner of the building. The painting focused on scenes related to worship of Dionysus. Dionysus is identified by a staff called Thyrsus and leaves of vine in his hair. On the left wall, the drawing has two matrons, a naked boy, and a maid servant. One of the matrons seating holds a tray that may contain offerings to god and a scroll. Villa of the Mysteries is found in southern Italy, approximately 400 meters northwest of Pompeii. It survived damage from an eruption of Vesuvius. The painting in the room reveals a scene of initiation of a woman into the cult of Dionysus. Although various interpretation of the painting exist, Paul Veyne ascertains that it shows a woman participating in the rites of marriage. Pompeii and the Cities of Vesuvius in Dionysiac mystery frieze Pompeii, Italy, ca was done between 60-50 B.C. what is striking in the painting is the interaction of the figures across the room. Such a painting never existed during the Hellenistic period. The images present are from Greek mythology. They are; Dionysus, satyrs among other figures. Although the figures are borrowed from Greek mythology, the design is Roman. The painting origin was from the Fourth style of an exedra, in a remote area of the atrium of a Pompeian building. Roman marriage was depicted in the painting of a man holding a scroll while the woman held a stylus and wax reading tablet. The painting revealed value in high education, equivalent to wedding photographs. The Roman painters were also interested in comparison of people with everyday objects. The use of still life implied that the painters loved creating illusionistic effects. Light and shade was used to draw attention to shadows and areas of interest. This illusion was used by ancient painters in representational technique. The artist had the idea that light was a fundamental aspect in painting. This effect accompanied the sense of touch in a painting. This technique advanced later in the 1700’s by the Dutch. According to Dyer (1991), the feminine character is used to depict many attributes to worship of the god Dionysus. Women are used by the artists to show their role in religion and participation in initiation rites. From the Mythological and historical paintings, there was a focus on remaining scenes and space across the room. The decorations made from extra frieze and a pair of symmetrical vine-scrolls placed on the door ways, running along the walls. The second style rule of art is combined in the paintings. Shadows are shown falling away from the entrance of the rooms. The rites of passage reveal Dionysus as a god of fertility, with images of human beings responding to the rites of passage. The practices involved in the rites of passage are not clearly shown in the paintings. In the painting, the girl is revealed to be under punishment by unknown figures represented in the form of wings. It reveals a rite of passage from one life form to the other. The initiates are freed from trouble by a god. A religious theme is shown in the painting. The large figures, design and the color used in the paintings, contribute to the effect of sense about other worlds. Unity of composition and concepts are depicted in the painting. In the Villa of Mysteries, a low podium is used to portray life-size figures. Figures on the side walls appear against a red backdrop. Activities in the paint are grouped independently. Columns and black walls are used to create this scene. Figures in the central section are set out, designed to match with real openings in front walls. In the rear wall, Venus is painted standing with a cupid resting on her knee, with the aim of hurling a dart at Psyche. On the left, a version of Dionysus and a female friend, while on the right are three graces in a sky-blue background. Macedonia and Persian turban are personified on the left wall where two female images are painted sitting in a rocky terrain. A bearded figure leans on a stick, wearing a woolen cloak. He has a signet signifying his role as a philosopher of an institution. The right wall’s central theme is of two seated figures of females, probably mistresses in the Villa. A male nude is depicted as a hero or a king, holding a scepter. The throne is richly adorned with expensive jewelry. A female is shown playing a music instrument. At the main entrance, winged demons are seen. This illustrates an aping of the Greek art and myths. The unity depicted in Villa of Mysteries is less than that in the Mysteries frieze. The royal scepter and personification of Macedonia and Persia reveals the link between the painting and Hellenistic history. The hero signifies Alexander the Great, his companion Statira, a Persian princess he married, symbolizing the unity subjected to the two kingdoms. There is a possibility that the woman could be Alexander’s mother, mourning the death of her son. The trith about this idea could be irrefutable because the woman is the painting is remarkably mature and does not resemble a youthful bride. The painting leaves many questions unanswered. The images cannot be easily likened to various people in history (Ling, 105 & 106). Works Cited Dyer, Donald. Cross Currents: Chapter 8. Reflections on Psychology, culture and life. Shambhala Publications. USA. 1991. Print. Is it Greek or Is it Roman? (ppt). www.westcler.org/gh/curlessmatt/arthistory/section. Web. 5th March 2012 Ling, Roger. Roman Painting. Cambridge University Press; UK. 1991. Print. Read More