Art Institute Unveils Unprecedented “Myth and Marble” Exhibit with Ancient Roman Sculptures

Ancient Roman Sculptures Dazzle in Chicago Exhibition

The Art Institute of Chicago is showcasing “Myth and Marble: Ancient Roman Sculpture from the torlonia Collection,” an exhibition featuring large-scale Roman sculptures rarely seen in the United States. The collection, displayed in the Modern Wing, aims to bridge the gap between the ancient past and the present, highlighting the artistry and cultural significance of Roman sculpture as a form of media.

A Gallery of Emperors and Gods

one of the most striking installations is a “gallery of emperors” featuring Rome’s imperial leaders and their family members. These sculptures provide a glimpse into the visual portrayal of power and authority in ancient Rome.

Among the most striking installations at the Art Institute’s “myth and Marble: Ancient Roman Sculpture from the torlonia Collection,is a “gallery of emperors” featuring Rome’s imperial leaders and their family members. Courtesy of the Art Institute of Chicago.

Monumental Scale and Logistics

The exhibition includes the “Strigilated Sarcophagus with Lions,” dating to circa 260-270. This massive stone coffin, measuring 57 by 104 inches and weighing approximately 9,000 pounds, underscores the extraordinary logistical challenges involved in transporting and installing such monumental objects.The size and weight offer insight into the engineering and organizational capabilities of the Roman world.

Katharine A. Raff, Art Institute curator of the arts of Greece, rome, and Byzantium, emphasized the rarity of such large-scale Roman works in U.S. museums. “These are some of the largest sculpted works coming out the Roman world and these are things that we don’t see in U.S. museums. you have to go to italy to see objects like this, and, so, it’s really exciting,” she said.

Relevance for Today’s Audiences

Despite their age, the sculptures possess an artistic audacity that resonates with contemporary viewers. the curators deliberately chose to display the sculptures in the Modern Wing to highlight their enduring relevance.

Lisa Ayla Çakmak, co-curator and chair of the department, explained the rationale behind this decision: “What we wanted to do was help peopel build this bridge to the ancient past about images. We’re surrounded by media. The ancient Romans were surrounded by media. It’s just that our media today tends to be digital, and in the ancient Roman world, sculpture was the medium par excellence.”

Sculpture as Ancient Media

Çakmak’s comment underscores the importance of understanding Roman sculpture within its historical context. In a society without widespread literacy or digital dialog, sculpture served as a powerful tool for communicating political messages, religious beliefs, and social values. Imperial portraits, for example, were strategically placed throughout the empire to project an image of power and legitimacy [Citation: Beard, Mary. *The Roman Triumph.* belknap Press, 2009].

Augustus: An Enduring Image

Statue of an Emperor on a Throne with a Portrait of Augustus, 1st century CE Roman, Imperial Period. Torlonia Collection, Rome.

Visiting the Exhibition

“Myth and Marble: Ancient Roman Sculpture from the Torlonia Collection” is on display at the Art Institute of Chicago. Tickets and further information can be found on the museum’s website.

Ancient Sculptures: Restorations and Masterful Craftsmanship

A remarkable collection of over 600 sculptures, spanning from the 5th century BCE to the latter half of the 4th century, showcases the artistry of ancient civilizations. The collection features numerous imperial portraits from the 2nd-century height of the Roman Empire, the western portion of which ended in 476.

The Uniqueness of Complete Restoration

Unlike the fragmented pieces often seen in museums, a striking aspect of this exhibition is the completeness of the sculptures. These artifacts have undergone extensive restoration, seamlessly blending ancient remnants with modern additions. In many cases, the newer components constitute a significant portion of the artwork.

many of these restoration efforts date back to the 16th century, reflecting the practices of that era. Notable sculptors have contributed to these pieces, adding their unique touch to the ancient forms. Such as, consider the “statue of a Resting Goat,” which boasts a head believed to be the work of the renowned Italian sculptor Gian Lorenzo Bernini (1598-1680). According to the source article, it has “a head that is believed to have been crafted by famed Italian sculptor Gian Lorenzo Bernini (1598-1680).”

Statue of a Resting Goat, Body: late 1st century CE; head: attributed to Gian Lorenzo Bernini (1598–1680). Roman, Imperial Period. Torlonia Collection, rome.

Insights into Ancient Art and Restoration

The restoration of these sculptures presents an interesting intersection of historical preservation and artistic license. Early restoration practices often focused on completing a work to meet contemporary aesthetic standards, which sometimes meant incorporating entirely new elements rather than solely preserving the original fabric [1].

Today, modern conservation methods prioritize the preservation of authentic material, with any new additions clearly distinguishable from the original [2]. This shift reflects evolving attitudes towards cultural heritage and authenticity, emphasizing respect for the original artist’s intent and the historical context of the artifact.

The Maiden of Vulci: A Portrait of Roman Elegance

Among the portraits in the collection is the “Portrait of a Young Woman, known as the Maiden of Vulci”, which dates back to the mid–1st century BCE during the late Republican Period. The source article refers to it as “Portrait of a Young Woman, known as the Maiden of Vulci, mid–1st century BCE.Roman, late Republican Period. Torlonia Collection, Rome.” The sculpture offers a glimpse into the aesthetics and cultural values of Roman society, highlighting the era’s recognition for youthful beauty and refined craftsmanship.

Portrait of a Young Woman,known as the Maiden of Vulci,mid–1st century BCE. Roman, late Republican Period. Torlonia Collection, Rome.

Practical Applications and Modern Relevance

The study and appreciation of ancient sculptures extend beyond art history, offering valuable lessons in cultural heritage, restoration ethics, and the evolving nature of art itself. For conservators and historians, these restored artifacts provide insights into past artistic techniques and the impact of restoration on perceived authenticity. Artists, also, draw inspiration from the craftsmanship and aesthetic ideals of ancient sculptors, while general audiences gain a deeper understanding of historical contexts and cultural values.

Understanding the historical context affects contemporary debates around art restoration and heritage preservation. It encourages a more nuanced approach to conservation, one that considers both the scientific preservation of the original work and the historical layers of intervention and interpretation [3].

Conclusion

This collection offers a unique insight into the world of ancient sculpture,showcasing not only the skill of ancient artisans but also the evolving practices of restoration.Each piece tells a story, not just of its creation but also of its journey through time, shaped by the hands of restorers and the changing values of society.

Citations

[1] Doxiadis, E. (2018). *The Mysterious Fayum Portraits: Faces from Ancient Egypt.* Thames & hudson.

[2] Muñoz-Viñas,S.(2005). *Contemporary Theory of Conservation.* Routledge.

[3] Stanley Price, N.(Ed.). (1996).*Historical and Philosophical Issues in the Conservation of Cultural Heritage.* Getty Conservation institute.

Unveiling Ancient Rome: A Glimpse into Art and Realism

A new exhibit offers a compelling look into Roman sculpture, showcasing pieces that highlight both artistic skill and a striking commitment to realism.From portraiture to grand depictions of deities, the collection provides insights into the values and aesthetics of the Roman world.

The Maiden of Vulci: A Study in Realism

One of the most captivating pieces is the “Portrait of a Young Woman, known as the Maiden of Vulci,” dating back to the mid-1st century BCE. What sets this portrait apart is its “penetrating realism.” The young woman’s gaze, directed slightly upward and to the right, invites contemplation and connection.

Statue of a Goddess, known as the Hestia Giustiniani, first half of 2nd century CE. Roman, Imperial Period. Torlonia Collection, rome.

Portraits of Humanity: The Old Man of Otricoli

Further emphasizing the Roman commitment to realism is the “Portrait of a Man, known as the Old Man of Otricoli,” a 30-inch tall sculpture from the mid-1st century BCE. the artist eschewed idealization,instead focusing on capturing the raw,unfiltered reality of aging.As the exhibit text notes, “There is no idealization here. All the many wrinkles of this old man are clearly articulated, giving this piece a palpable sense of realism and humanity.” This piece’s significance is underscored by its inclusion “in many art-historical texts as one of the key works of this period.”

Divine Depictions: The Hestia Giustiniani

The exhibit also features the “Statue of a Goddess,known as Hestia Giustiniani,” a towering 78-inch sculpture from the first half of the 2nd century.The name “Giustiniani” refers to its provenance – “the 17th-century collection to which this work onc belonged.” This statue, based on a 500-year-old Greek sculpture, showcases a more restrained aesthetic: “the modeling of this unusually intact work is more plain and sedate than more ornate styles common in Roman sculpture at the time.” This highlights the Roman appreciation for Greek artistic traditions and their adaptation of those traditions.

A Glimpse into roman Life: The Portus Relief

Another notable piece is the “Portus Relief,” dating from the late 2nd to early 3rd century, measuring 29 × 48 inches. This 6-inch-deep relief offers a detailed depiction of Portus, “the primary port of imperial Rome,” intermixed with mythological and symbolic imagery. The inclusion of “a large eye that was believed to ward off evil” demonstrates the Romans’ blend of practical concerns and superstitious beliefs. The “packed yet ordered composition” and its “integrated carved frame” speak to the artistic skill and attention to detail prevalent in Roman art.

Statue of Artemis Ephesia, 2nd century CE. Roman, Imperial Period. Torlonia Collection, Rome.

The Enduring Legacy of Roman Art

This exhibit stands as a testament to the skill and artistry of Roman sculptors. By showcasing both realistic portraiture and grand depictions of gods and everyday life, it provides valuable insights into the values, beliefs, and aesthetic sensibilities of ancient Rome. The “penetrating realism” and attention to detail evident in these works continue to captivate and inspire viewers today.

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Statue of Artemis Ephesia, 2nd century CE.Roman, Imperial Period. Torlonia Collection, Rome.

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Unveiling Ancient Art: An Interview on Roman Sculptures and Their Enduring Appeal

Today, we delve into the captivating world of ancient Roman sculptures with Dr. Eleanor Vance, a leading art historian specializing in roman art and culture. Dr. Vance, thank you for joining us.

The Allure of Roman Sculpture

Archyde: Dr. Vance, exhibitions like “Myth and Marble” at the Art Institute of Chicago feature rarely seen Roman sculptures. What makes these ancient works so compelling to modern audiences?

Dr. vance: Thank you for having me.Roman sculptures possess a unique artistic audacity that transcends time. They offer a direct visual link to a civilization that shaped much of Western culture. Their scale, detail, and the stories they tell are remarkably engaging, even with the passage of centuries. The combination of realistic portraiture and grand depictions of gods and everyday life provides valuable insights into the values, beliefs, and aesthetic sensibilities of ancient Rome.

Sculpture as ancient Media

archyde: The exhibition highlights sculpture as a form of ancient media. Can you elaborate on that and how it compares to today’s digital media landscape?

Dr. Vance: Absolutely. in a society where literacy was limited, sculpture served as a crucial tool for dialog. It conveyed political messages,religious beliefs,and social values. Think of imperial portraits strategically placed throughout the empire; they were projecting power and legitimacy. Today, we’re bombarded with digital images, but the Romans used sculpture in a similar way – to shape public perception and reinforce societal norms.

Restoration and the Blending of Eras

Archyde: Some sculptures have undergone extensive restoration. What are your thoughts on the practice of blending ancient remnants with modern additions, such as the Resting goat whose head is believed to be crafted by Gian Lorenzo Bernini?

Dr. Vance: Restoration is a complex and fascinating topic. While some purists argue against any alteration of ancient artifacts, I believe that thoughtful restoration can enhance our understanding and recognition of these objects. When done well, it allows us to see the sculptures more wholly, while also acknowledging the history of their preservation. The addition of Bernini’s sculptorship is like a tale that adds to the story of a character.

Statue of an Emperor on a Throne with a Portrait of Augustus, 1st century CE Roman, Imperial period. torlonia Collection, Rome.

A Question for Our Readers

Archyde: a question for our readers: If you could commission a sculpture representing modern society, what would it depict and what materials would you use?

Dr. Vance: That’s a fantastic question! It invites us to consider what aspects of our current era we wont to preserve and communicate to future generations. Art encourages critical and mindful discussion on what is crucial to a society.

Archyde: Dr. vance, thank you again for sharing your expertise with us today.

dr. Vance: It was my pleasure.