ETRUSCAN ART

EARLY ETRUSCAN ART

ETRUSCAN CLASSICAL AND HELLENISTIC PERIODS

LATER ETRUSCAN ART

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Acroterionin architecture, decorative pedestal for an ornament or statue placed atop the pediment of a Greek temple; the term has also been extended to refer to the statue or ornament that stands on the pedestal.Fibula A decorative pin, usually used to fasten garments.Granulation A decorative technique in which tiny metal balls (granules) are fused to a metal surface.Necropolis “City of the dead,” or burial area for a living city.Tumulus Burial mound that covers one or more subterranean multichambered tombs cut out of the local tufa (limestone).

ETRUSCAN ART

Four important Etruscan settlements.

Tarquinia (Tarquinii)

Cerveteri (Caere)

Vulci

Veii

EARLY ETRUSCAN ART

VEIICERVETERI

Models of Etruscan temples

as described by Vitruvius

ca. 6th century B.C.E.

The column used on Etruscan temples looks similar to the Doric type of Greek column

How was an Etruscan temple entered from the front only

The Etruscan temple differed from the Greek temple because it had three cellas

Etruscan templeWooden columns and wooden roof

Walls of sun-dried brick

Columns and steps restricted to the front of the temple

Etruscan columns were wood, unfluted, and had bases.

Greek templeStone columns and stone roof

Walls of stone

Columns and steps usually went around all four sides; front and rear indistinguishable

Greek columns were stone, fluted, and without bases.

Etruscans temples were built of wood and brick

Apulu (Apollo)from the Portonaccio Temple, Veii, Italyca. 510-500 B.C.E.painted terracotta71 in. high

Stylistic characteristics of the Apula (Apollo) from Veii

Huge force and swelling contours of the garment.

Gesticulating arms and animated face.

Fanlike calf muscles.

Originally placed at the top of the Portonaccio sanctuary temple roof at Veii.

The Apulu of Veii was originally located on a temple roof Most architectural sculpture was made to decorate the roof of the Etruscan temple

Apulu (Apollo)

from the Portonaccio Temple, Veii, Italy

ca. 510-500 B.C.E.painted terracotta71 in. high

Favorite materials of Etruscan sculptors was Terracotta, which was often painted, and later bronze.

Apulu (Apollo)

from the Portonaccio Temple, Veii, Italy

ca. 510-500 B.C.E.painted terracotta71 in. high

Sarcophagus with reclining couplefrom Cerveteri, Italyca. 520 B.C.E.painted terracotta45 1/2 in. high

Important Etruscan tombs were discovered at Caere (Cerveteri) Terracotta life-sized reclining figures are found on Etruscan Sarcophagi

Sarcophagus with reclining couple

from Cerveteri, Italy

ca. 520 B.C.E.painted terracotta45 1/2 in. high

Tumulus

from Cerveteri, Italy

7th to 2nd centuries B.C.E.

Tumuli in the Banditaccia necropolis

from Cerveteri, Italy

7th to 2nd centuries B.C.E.

Plan of the Tomb of the Shields and Chairs

Cerveteri, Italy

2nd half of the 6th century B.C.E.

Interior of the tomb of the reliefs

Cerveteri, Italy

3rd century B.C.E.

ETRUSCAN CLASSICAL AND HELLENISTIC

PERIODSTARQUINIA

Interior of the Tomb of the Leopards

Tarquinia, Italy

ca. 480-470 B.C.E.

The wall painting in the Tomb of the Leopards portrays which of the following banqueters and musicians

Double-flute player, detail of a mural painting in the Tomb of the Leopards

Tarquinia, Italy

ca. 480-470 B.C.E.

LATER ETRUSCAN ART

Arcuated gateway An arch-shaped gateway.Chimera A monster with the head and body of a lion and the tail of a serpent. A goat head grows out of one side of the body.Cista An Etruscan cylindrical container made of sheet bronze with cast handles and feet, often with elaborately carved bodies, used for women’s toilet articles.Voussoir A wedge-shaped block used in the construction of a true arch. The central voussoir is the keystone.

AREZZO ROMEPERUGIA

TARQUINIA CORTONA

Chimera of Arezzo

from the Arezzo, Italy

1st half of 4th century B.C.E.bronze31 1/2 in. high

Etruscans produced cast-bronze sculpture.

Chimera of Arezzo

from the Arezzo, Italy

1st half of 4th century B.C.E.bronze31 1/2 in. high

Estruscans had a taste for ostentatious displays of wealth.

Capitoline Wolffrom Rome, Italyca. 500-480 B.C.E.bronze31 1/2 in. high

The Capitoline Wolf was made for the new Roman Republic after the expulsion of Tarquinius Superbus, but was not made by the Romans, who did not have a distinct identity at that time. It was made in an Etruscan workshop (and the suckling infants are a Renaissance addition). The animal is represented with as much intensity and vitality as the Etruscan sculptures of people.

The Ficoroni Cista.Bronze. Late 4th century B.C.Height approx. 75 cm.Rome, National Museum of Villa Julia.

Medium and technique used for decorating The Ficoroni Cistt;

It is engraved on a sheet of bronze formed into a cylinder, with cast handles and feet.

Etruscan artisans particularly excelled at metalworking

The Ficoroni Cista is decorated with mythical scenes of the Argonauts

Porta Marzia (Gate of Mars)Perugia, Italy2nd century B.C.E.

The Gate of Mars in Perugia includes an archpilasters, voussoirs,

Sarcophagus with reclining couplefrom Cerveteri, Italy

Sarcophagus of Lars Pulena Tarquinia is different from the reclining couple because the deceased is not with his wife, nor is he at a banquet as in the older sarcophagus. He is somber instead of smiling and confident, perhaps an indication of the less prosperous Etrurian age.

Late Etruscan sarcophagi were made of stone.

Figure 9-15 Sarcophagus of Lars Pulena, from Tarquinia, Italy, early second century BCE. Tufa,

6’ 6” long. Museo Archeologico Nazionale, Tarquinia.

The deceased is shown in the underworld and is being attacked by two death demons (charuns) with hammers. Considering the Etruscans furnished their tumuli with colorful home-like accessories, this a gloomy prediction of the afterlife. It was at this time the Etruscan villages were either being destroyed by the Romans or being forced to ally with them.

Aule Metelefrom Cortona, ItalyEarly 1st century B.C.E.bronze5 ft. 7 in. high

Two features of the magnificent bronze figure of Aule Matele that show Roman influence;

Aule Metele wears the short toga and high laced boots of a Roman magistrate.

His close-cropped hairstyle and the signs of age in his face resemble portraits made in Rome at that time.

The Etruscan figural style can best be described as possessing motion and vitality

Aule Metele is the best example that illustrates the influence of Roman art on Etruscan sculpture.

Portrait of Augustus as generalfrom Primaporta, Italyca. 20 B.C.E.marble80 in. high