User:Tnix997/sandbox
Outline, stuff to add:
multiple copies (in "Original")
Drapery & paint (drapery in "Divine status" and more painted info in "Polychromy")
-idolized qualities
Context (before "Original")
-Dynastic rome
-Augustus
-his beliefs
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Despite the favorability, Perpetuated by the monochromy of the neoclassical era, Fabio barry and many other Art Historians have towards the polychromy of roman Sculpture, the surface treatment is now recognized as an integral to the overall effect of the sculpture[1][2] There are many notable differences between the original Prima Porta of Augustus and the painted recreation (see recreation to the right). [3]However due to the ongoing disagreement on the statues pigmentation there is little information or exploration on the usage of these colors.[3][4]
The writings of second century polymath, Lucian, Provide a good example of how color functioned for a work of that time, "I Fear I stand in the way of her most important feature!... the rest of the body let Apelles (renown painter) represent.. not too white but diffused with blood." [5] The quote continues to state, a stature of the time is unfinished without its "chora"—skin—or layer, applied to the statue renders it incomplete.[5] [3]The specific implications of each color chosen for the prima porta is Unknown, assumedly red for royalty, the usage of color in roman statues is evident through years of systematic research is evident.[6][3][7]
- ^ Bradley (2009). "Colour and Meaning". Cambridge. Retrieved November 12, 2015.
- ^ Palagia, Olga (2006). "Greek Sculpture". Function Materials and Techniques in the Archaic and Classical Periods. Retrieved November 14, 2015.
- ^ a b c d Bradley, Mark (2009-06-01). "The Importance of Colour on Ancient Marble Sculpture". Art History. 32 (3): 427–457. doi:10.1111/j.1467-8365.2009.00666.x. ISSN 1467-8365.
- ^ Shneider, Rolf (1986). Brute Barberton worms. Marilda De Nucqi.
- ^ a b Gassino, Issabell. Voir et Savoir: les difficultés de la connaissance Chez Lucien'.
- ^ Ridgway. Prayers in Stone. pp. 107–8.
- ^ Phelps, Herman (1930). Die Farbige Architektur bei den Romern und in Mittelalter. Berlin.
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