Glorious Verism, Royal Imperialism

Roman sculpture sought truthfulness -- verism -- in art beyond all else, at least initially.  Roman sculpture, with the proverbial "warts and all," was determined to portray the individual as he or she actually looked, whether an ordinary person or an emperor.  That the appearance of an individual was important says something about the value of the individual in Roman society.

Relief portrait of a man, 1st century bce.
Double portrait, Gratidia and Gratidius, 1st century bce
Portrait of the Emperor Antonius Pius, c. 138-161 ce

Relief portrait head of a man, c.1st Century bce, marble, 9 5/8" height.
Metropolitan Museum of Art, 
New York 
Double portrait, "Gratidia and Gratidius Libanus," c.1st Century bce, marble with traces of paint, 23 3/4" height. 
Vatican Museums, Rome
Portrait of the Emperor Antonius Pius, c.138-161 ce, shown with the style of beard made popular by Hadrian.  Marble, 15 7/8" height.
Metropolitan Museum of Art,
New York

Although Roman legions destroyed much of the Greek art and architecture, the Romans admired Greek culture enough to copy bronze statues in marble before melting the bronze for weapons.  Roman sculptors had developed the skills, perhaps by copying the Greek works,  necessary to portray the desired verism.


AUGUSTUS OF PRIMA PORTA, C. 20 BCE
Camillus, c. 41 bce
Roman aristocrat with heads of his ancestors, 1st century bce

Portrait of the Grandson (either Gaius or Lucius) of Augustus Caesar, c.10 bce - 4 ce. Bronze, 49 1/2" Height.
Metropolitan Museum of Art, New York
"Augustus of Primaporta," 20 bce, marble, 6'8" Height.
Vatican Museums, Rome

 

 
"Camillus," (ayouthful assistant in religious ceremonies) 
c.41-54 bce, bronze. 46 7/8" Height.
Metropolitan Museum of Art, New York
Roman aristocrat with heads of his ancestors, c.1st Century, bce, marble.
Musei Capitolini, Rome


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