10.3 Neo-Attic style
9 min read•august 21, 2024
The emerged during the late Roman Republic, reviving Classical Greek artistic traditions. It reflected Rome's fascination with Greek culture and played a key role in shaping Augustan Rome's monumental art. This style blended Greek influences with Roman tastes.
Neo-Attic art emphasized , mythological subjects, and relief sculpture techniques. It became popular in Augustan Rome, aligning with Augustus's cultural program and serving as a visual language to express Rome's connection to Greek heritage. The style influenced Roman art for centuries.
Origins of Neo-Attic style
- Emerged during the late Roman Republic as a revival of Classical Greek artistic traditions
- Reflected Roman fascination with Greek culture and desire to emulate its aesthetic ideals
- Played a significant role in shaping the visual language of Augustan Rome's monumental art
Greek classical influences
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- Drew inspiration from 5th century BCE Greek sculptural styles, particularly those of Phidias and Polykleitos
- Adopted the idealized proportions and balanced compositions of Classical Greek art
- Incorporated elements of the Severe Style, characterized by restrained emotions and dignified poses
- Revived interest in mythological narratives and from Greek literature
Late Hellenistic developments
- Integrated some stylistic features from Hellenistic art, such as greater attention to surface detail
- Adapted the dramatic poses and expressive qualities of late Hellenistic sculpture
- Incorporated more complex, multi-figural compositions inspired by Hellenistic relief sculptures
- Blended Hellenistic naturalism with Classical idealism to create a distinctive Neo-Attic aesthetic
Characteristics of Neo-Attic art
- Emphasized a return to Classical Greek artistic principles and subject matter
- Served as a visual manifestation of Roman cultural appropriation of Greek heritage
- Played a crucial role in establishing the visual language of Augustan Rome's imperial
Idealized figures
- Depicted human forms with perfect proportions based on mathematical ratios
- Emphasized symmetry and balance in the representation of the human body
- Portrayed figures with serene expressions and dignified poses
- Utilized contrapposto stance to create a sense of natural movement and grace
Mythological subject matter
- Focused on scenes from Greek mythology and epic poetry
- Depicted gods, heroes, and legendary figures from the Greek pantheon
- Included narrative scenes from Homer's Iliad and Odyssey
- Represented allegorical themes related to virtues, seasons, or cosmic forces
Relief sculpture techniques
- Employed various levels of relief, from high relief to very low relief (bas-relief)
- Utilized foreshortening and overlapping to create the illusion of depth
- Incorporated intricate details and textures to enhance visual interest
- Arranged figures in balanced compositions with rhythmic patterns and symmetry
Neo-Attic artists and workshops
- Played a crucial role in disseminating Greek artistic traditions throughout the Roman world
- Contributed to the standardization of Classical imagery in Augustan visual culture
- Operated as both preservers of ancient Greek styles and innovators in Roman art production
Notable sculptors
- Pasiteles, a Greek sculptor active in Rome during the 1st century BCE
- Known for his meticulous study and reproduction of earlier Greek masterpieces
- Wrote a treatise on famous artworks, influencing later Neo-Attic artists
- Stephanos, a pupil of Pasiteles, created sculptures that epitomized the Neo-Attic style
- His "Athlete of Stephanos" exemplifies the blending of Classical and Hellenistic elements
- Menelaus, another follower of Pasiteles, known for his emotionally charged figural groups
- His "Orestes and Electra" demonstrates the Neo-Attic approach to mythological narratives
Production centers
- Athens remained a significant hub for Neo-Attic sculpture production
- Workshops in Athens specialized in creating replicas of famous Classical Greek statues
- Rome became a major center for Neo-Attic art, with numerous Greek artists relocating there
- Roman workshops adapted Greek styles to suit local tastes and imperial commissions
- Other important production centers included Alexandria, Pergamon, and Rhodes
- These cities combined local artistic traditions with Neo-Attic principles
Popularity in Augustan Rome
- Neo-Attic style aligned with Augustus's cultural program of reviving traditional values
- Served as a visual language to express Rome's connection to Greek cultural heritage
- Helped establish a unified artistic vocabulary for the expanding Roman Empire
Imperial patronage
- Augustus and his circle actively promoted Neo-Attic art as part of their cultural policies
- Commissioned Neo-Attic works for major public monuments (, Forum of Augustus)
- Encouraged the collection and display of Greek artworks in public spaces
- Used Neo-Attic imagery to reinforce imperial ideology and legitimacy
Domestic vs public contexts
- In domestic settings, Neo-Attic works adorned wealthy Roman villas and gardens
- Decorative elements included relief panels, , and furniture
- Reflected the owner's cultural sophistication and connection to Greek heritage
- Public contexts featured monumental Neo-Attic sculptures and reliefs
- Adorned temples, forums, and other civic spaces
- Communicated imperial messages and Roman values to a broader audience
Sculptural forms and media
- Neo-Attic artists worked in various sculptural formats to meet diverse patron demands
- Adapted Classical Greek forms to suit Roman architectural and decorative needs
- Demonstrated technical mastery in carving different materials and creating complex compositions
Marble reliefs
- Produced elaborate narrative friezes for public monuments and private villas
- Created decorative panels featuring mythological scenes or allegorical figures
- Employed varying depths of relief to create visual interest and depth
- Incorporated architectural elements like pilasters and moldings into relief compositions
Decorative elements
- Designed ornate candelabra bases with mythological figures and vegetal motifs
- Created decorative pillars and herms featuring Classical Greek-inspired imagery
- Produced ornamental panels for furniture, altars, and architectural elements
- Crafted intricate garland and festoon reliefs for use in various architectural contexts
Freestanding sculptures
- Replicated famous Greek statues of gods, athletes, and mythological figures
- Created new compositions based on Classical Greek prototypes
- Produced portrait statues of Roman elites in idealized Greek styles
- Developed eclectic works combining elements from different Classical Greek sources
Iconography and themes
- Neo-Attic art drew heavily from Greek mythology and literature for its subject matter
- Adapted Classical themes to suit Roman cultural and political contexts
- Served as a visual language for expressing complex ideas and values
Greek gods and heroes
- Depicted major Olympian deities in their traditional iconographic forms
- Portrayed heroic figures from Greek mythology (Hercules, Theseus, Perseus)
- Represented scenes from epic cycles (Trojan War, Odyssey, Argonauts)
- Adapted Greek divine imagery to represent Roman counterparts (Zeus/Jupiter, Athena/Minerva)
Dionysiac scenes
- Featured Dionysus (Bacchus) and his retinue of satyrs, maenads, and sileni
- Depicted Bacchic processions and ecstatic ritual dances
- Included scenes of wine-making and revelry associated with the god
- Symbolized concepts of abundance, transformation, and divine ecstasy
Allegorical representations
- Personified abstract concepts such as virtues, seasons, and natural forces
- Created complex allegorical compositions representing cosmic or philosophical ideas
- Depicted personifications of cities, rivers, and other geographical entities
- Utilized symbolic attributes and gestures to convey meaning in visual form
Neo-Attic vs Hellenistic style
- Neo-Attic art sought to revive Classical Greek aesthetics while incorporating some Hellenistic elements
- Created a distinctive style that balanced idealism with selective naturalistic details
- Adapted earlier Greek styles to suit Roman tastes and cultural contexts
Treatment of space
- Neo-Attic: Emphasized clear, balanced compositions with distinct figure groupings
- Maintained a sense of order and clarity in spatial relationships
- Used architectural elements to frame and organize scenes
- Hellenistic: Explored more complex spatial arrangements and depth
- Created dynamic, multi-layered compositions
- Experimented with extreme foreshortening and dramatic perspectives
Emotional expression
- Neo-Attic: Favored restrained emotions and idealized serenity
- Portrayed figures with calm, dignified expressions
- Used subtle gestures to convey emotional states
- Hellenistic: Embraced intense emotional displays and pathos
- Depicted exaggerated facial expressions and bodily contortions
- Sought to evoke strong emotional responses in viewers
Compositional differences
- Neo-Attic: Prioritized symmetry and balanced arrangements
- Organized figures in clear, rhythmic patterns
- Maintained a sense of harmony and order in multi-figural scenes
- Hellenistic: Explored asymmetrical and dynamic compositions
- Created spiraling or diagonal movement across the pictorial space
- Emphasized dramatic contrasts and visual tension
Function and display
- Neo-Attic art served various purposes in Roman society, from decoration to propaganda
- Placement and context of Neo-Attic works influenced their interpretation and impact
- Reflected the tastes and values of Roman patrons across different social strata
Villa decoration
- Adorned private gardens with freestanding sculptures and fountain figures
- Decorated interior walls with relief panels depicting mythological scenes
- Incorporated Neo-Attic elements into domestic shrines and lararia
- Used decorative objects like candelabra and furniture with Neo-Attic motifs
Public monuments
- Embellished state-sponsored buildings with monumental relief friezes
- Ara Pacis Augustae featured Neo-Attic style reliefs in a public context
- Decorated forums and public spaces with idealized statues of emperors and deities
- Incorporated Neo-Attic imagery into triumphal arches and columns
- Used allegorical Neo-Attic figures to represent Roman virtues and achievements
Religious contexts
- Adorned temples with cult statues and votive reliefs in Neo-Attic style
- Created elaborate altar decorations featuring mythological narratives
- Produced ritual objects and implements with Neo-Attic ornamental motifs
- Adapted Greek religious imagery to suit Roman cultic practices and beliefs
Legacy and influence
- Neo-Attic style profoundly shaped the visual culture of Imperial Rome
- Established a classical aesthetic that influenced Western art for centuries
- Served as a model for later classicizing movements in European art history
Impact on Roman art
- Standardized the representation of mythological subjects in Roman visual culture
- Influenced the development of Roman historical relief sculpture
- Contributed to the formation of the Roman ideal of Greek artistic superiority
- Shaped the iconography of Roman imperial portraiture and propaganda
Later classicizing movements
- Renaissance artists studied and emulated Neo-Attic works as exemplars of classical style
- Neoclassical movement of the 18th and 19th centuries drew inspiration from Neo-Attic art
- Academic art traditions continued to reference Neo-Attic principles of
- Modern classical revivals in architecture and design often incorporate Neo-Attic elements
Notable Neo-Attic works
- Several surviving artworks exemplify the characteristics and significance of Neo-Attic style
- These pieces demonstrate the range of subjects, techniques, and contexts of Neo-Attic art
- Serve as important references for understanding the aesthetic principles of the style
Ara Pacis reliefs
- Monumental altar dedicated to Pax Augusta in 9 BCE
- Exterior friezes combine Neo-Attic style with Roman historical content
- Processional scenes depict imperial family members in idealized Greek-inspired forms
- Allegorical panels represent Roman virtues and mythological foundations of Rome
Borghese vase
- Large marble krater dating to the 1st century BCE
- Depicts a Dionysiac procession with satyrs and maenads in high relief
- Exemplifies the Neo-Attic treatment of mythological subjects
- Demonstrates the adaptation of Greek vase forms for Roman sculptural decoration
Sosibios vase
- Marble volute krater signed by the Athenian sculptor Sosibios (1st century BCE)
- Features a relief frieze depicting a sacrificial procession
- Combines Neo-Attic style figures with archaizing elements
- Illustrates the eclectic nature of Neo-Attic art, blending different Greek styles
Collecting and connoisseurship
- Neo-Attic art played a crucial role in shaping Roman attitudes towards Greek culture
- Collecting practices influenced the production and dissemination of Neo-Attic works
- Modern scholarship continues to refine our understanding of Neo-Attic style and its significance
Ancient Roman collectors
- Wealthy Romans amassed large collections of Greek and Neo-Attic sculptures
- Verres, a notorious Roman governor, acquired Greek artworks through theft and extortion
- Cicero's speeches against Verres provide insights into Roman attitudes towards Greek art
- Imperial collections, like Hadrian's Villa at Tivoli, showcased Neo-Attic works alongside Greek originals
Modern scholarship
- Johann Joachim Winckelmann's 18th-century studies laid the foundation for Neo-Attic research
- 20th-century archaeologists refined the chronology and attribution of Neo-Attic works
- Recent scholarship focuses on the role of Neo-Attic art in Roman visual culture and identity
- Ongoing debates address issues of originality, copying, and adaptation in Neo-Attic production
Key Terms to Review (24)
Allegorical representations: Allegorical representations are artistic and literary devices that convey deeper meanings through symbolic figures, actions, or events. They often embody abstract ideas or moral qualities, allowing artists to communicate complex messages about society, politics, or human nature in a more relatable way. In the context of art and architecture, especially during periods like Neo-Attic style, these representations serve as a means to express cultural values and historical narratives.
Ara Pacis: The Ara Pacis, or Altar of Peace, is a monumental altar dedicated to Pax, the Roman goddess of peace, and was commissioned by the Roman Senate in 13 BCE to honor Augustus's return from Spain and Gaul. This structure is not only an important piece of propaganda celebrating peace and prosperity but also embodies Augustan ideology, reflecting the social, political, and cultural transformations during his reign.
Augustus of Primaporta: The Augustus of Primaporta is a famous statue of the first Roman emperor, Augustus, depicting him in a heroic pose that conveys power and authority. This statue is not just an artistic representation but also a political statement, embodying the ideals of the early Roman Empire and the transition to imperial rule.
Battle of Actium: The Battle of Actium was a decisive naval confrontation that occurred in 31 BCE between the forces of Octavian and those of Mark Antony and Cleopatra. This pivotal battle marked the end of the Roman Republic and set the stage for Octavian’s rise to power, leading to the establishment of the Roman Empire.
Civic Identity: Civic identity refers to the sense of belonging and participation in a community or society, often shaped by shared values, beliefs, and cultural symbols. This concept is crucial for understanding how urban design, public art, mythological narratives, and artistic styles contribute to a collective identity among citizens, enhancing their sense of place and engagement with their environment.
Colonnade: A colonnade is a row of columns that support a roof or a series of arches, typically creating a walkway or covered area. This architectural feature is not just structural but also serves as a powerful visual element in public art, conveying grandeur and order. Colonnades can enhance the sense of space and connection in monumental architecture, influencing the viewer's experience of the surrounding environment.
Dionysiac scenes: Dionysiac scenes are artistic representations that depict the cult of Dionysus, the Greek god of wine, fertility, and revelry. These scenes often include imagery of ecstatic celebrations, wine consumption, and various forms of dramatic expression that celebrate the divine nature of Dionysus, reflecting both the joy and chaos associated with his worship. In the context of art, especially during the Neo-Attic style, these scenes illustrate the blending of high artistic standards with themes drawn from mythology and everyday life.
Elegance: Elegance refers to the quality of being graceful, stylish, and refined in appearance or manner. In the context of Neo-Attic style, elegance is expressed through the sophisticated use of proportion, intricate details, and harmonious design elements that reflect both beauty and functionality. This style often embodies a sense of classical inspiration combined with a contemporary twist, making it appealing to patrons seeking refined aesthetics.
Freestanding sculptures: Freestanding sculptures are three-dimensional artworks that stand independently and are not attached to any background or support. These sculptures can be viewed from all angles, allowing for a more immersive experience and engagement with the piece. They often serve as focal points in architectural spaces and can convey complex narratives or themes through their form and composition.
Idealization: Idealization is the artistic technique of representing subjects in an elevated or perfected form, often emphasizing beauty, nobility, or virtue while downplaying flaws or imperfections. This method is prevalent in various forms of art and sculpture, creating a visual narrative that communicates the ideals of beauty and moral character, serving as a standard for viewers to aspire to or admire.
Idealized figures: Idealized figures are artistic representations that depict subjects in a perfected or exaggerated manner, often emphasizing beauty, grace, and a sense of perfection. These representations reflect cultural ideals and aspirations, serving to convey themes of virtue, heroism, and divine qualities. In art and sculpture, especially during certain historical periods, these figures were often created to embody the ideals of the society they represented, showcasing the artists' skills in capturing human form and emotion.
Imperial patronage: Imperial patronage refers to the financial and political support provided by emperors to artists, architects, and craftsmen to create works that promote the imperial image and convey messages of power. This practice was crucial in shaping the cultural landscape of Rome during the imperial period, influencing various forms of artistic expression and public art.
Marble reliefs: Marble reliefs are sculptural artworks that involve the carving of images into a block of marble, creating a raised design that projects from a flat background. This technique was widely used in ancient Roman art to depict various themes, including mythological narratives, historical events, and everyday life. These reliefs were often incorporated into architectural elements, such as friezes and altars, showcasing the skill of the sculptors and serving both decorative and narrative purposes.
Mythological subject matter: Mythological subject matter refers to the use of themes, characters, and narratives from mythology in art and architecture. This includes representations of gods, goddesses, legendary heroes, and mythic events that convey cultural values and ideals. In the context of artistic styles, such as Neo-Attic, these themes are often reinterpreted to reflect contemporary tastes while still preserving their original symbolic significance.
Neo-attic style: Neo-Attic style refers to a distinct artistic movement that emerged in the late Hellenistic and early Roman periods, characterized by a revival of classical Greek forms and aesthetics, particularly those from the Attic region of Greece. This style was especially influential in sculpture and decorative arts, as it sought to emulate the elegance and refinement of earlier Greek works while also incorporating contemporary elements and techniques.
Pax Romana: Pax Romana, meaning 'Roman Peace,' refers to a 200-year period of relative stability and prosperity across the Roman Empire that began with the reign of Augustus in 27 BCE and lasted until around 180 CE. This era is characterized by reduced military expansion, a flourishing economy, and significant advancements in arts and culture, which are critical to understanding the transformation of Rome during and after the establishment of the imperial system.
Pergola: A pergola is an outdoor garden feature that consists of a framework covered with trained climbing or trailing plants. This structure serves as a walkway, passageway, or a sitting area, creating a shaded environment while enhancing the aesthetic appeal of gardens and outdoor spaces. Pergolas are often made of wood or metal and can be found in various designs, blending with the surrounding landscape to provide both beauty and utility.
Pollio: Pollio refers to a prominent figure in the context of Augustan Rome, specifically a wealthy patron and notable art collector. His significance lies in his influence on public art and architecture, contributing to the visual rhetoric that defined the era, as well as his relationships with artists and his role in shaping imperial patronage.
Private commissions: Private commissions refer to artworks or architectural projects that are funded and commissioned by individuals or private entities rather than by public institutions or the state. These commissions often reflect the personal tastes, wealth, and status of the patrons, allowing for a more intimate and individualized artistic expression, especially during the period when Neo-Attic style was prominent.
Propaganda: Propaganda refers to the systematic promotion of ideas, information, or beliefs with the intent to influence public opinion and support for a particular agenda. In ancient Rome, especially during the Augustan period, propaganda was used to legitimize power, communicate achievements, and reinforce the status of the emperor and the Roman state.
Roman Baroque: Roman Baroque is an artistic style that emerged in Rome during the late 16th century and flourished into the 18th century, characterized by dramatic expression, bold ornamentation, and a sense of movement. This style reflects the grandeur and power of the Catholic Church during the Counter-Reformation, showcasing elaborate architecture and art that aimed to inspire awe and convey religious themes.
Stucco relief: Stucco relief is a decorative technique that involves creating three-dimensional images or patterns using a plaster-like material, which is then molded or applied onto a flat surface. This method allows for intricate designs that can enhance the visual appeal of walls and ceilings, often found in classical architecture. It gained particular prominence during the Neo-Attic style, which sought to emulate the aesthetics of earlier Greek art while incorporating new Roman elements.
Verism: Verism is an artistic style that emphasizes realistic portrayal, often highlighting the subject's age, imperfections, and individuality. In the context of Roman art, verism was particularly prevalent during the late Republican period and into the early Imperial era, as it conveyed a sense of authenticity and moral integrity, often associated with political leaders and public figures.
Vitruvius: Vitruvius was a Roman architect and engineer best known for his treatise 'De Architectura,' which laid the foundational principles of architecture and urban planning. His work is significant as it discusses the importance of symmetry, proportion, and functionality in design, connecting closely to Roman society's ideals during a time of peace and prosperity.