ROMAN PAINTING: ORIGINS, CHARACTERISTICS, THEMES, WORKS, AUTHORS - ART - 2025

The Roman painting is the pictorial and artistic expression developed by the Roman culture during classical antiquity. Generally, it was carried out on the walls of the houses of the wealthiest families, so it was characterized as fresco painting. However, there are also records of painting on board.

One of the characteristics of Roman art is that it began simultaneously with Etruscan art and with that of the small Greek colonies - from whose culture it was directly inspired. For this reason, pictorial elements of the various Mediterranean cultures can be found in the Roman territories.

Roman painting is the artistic and pictorial manifestation developed by Roman culture during classical antiquity. Source: pixabay.com

Because it is mainly fresco painting -that is, mural painting-, not many Roman pictorial expressions have been preserved. In fact, the remains found are very small and consist mainly of the structures found during the excavations of Pompeii and Herculaneum.

However, Roman painting in a more reduced form made use of other techniques, such as the decoration of the vessels and the miniature on parchment.

In turn, the Romans also made mosaics, although these were used mainly on floors. This circumstance changed during the Byzantine era, where a rediscovery of mosaics as an artistic expression occurred.

Regarding its themes, Roman painting was focused on religious, mystical and historical elements; This with the aim of recording their beliefs and experiences to make them last over time and transmit them from generation to generation.

However, the Romans also greatly appreciated the ornamental character of art, so they sought symmetry and harmony of forms. They took this belief from the Greeks, whom they imitated in almost every aspect of life.

origins

As mentioned in previous paragraphs, Roman art arose from the influence of Etruscan and Greek art, to which the Romans approached when they met the colonies located in Magna Grecia.

Likewise, the Greek influence increased during the 2nd century BC. C., after the Romans invaded Macedonia and Greece with the aim of increasing the territorial union of the peninsula.

Despite the notable imitations of the Romans, it cannot be said that all their artistic production consisted of copying, since the ruling epistemology in the peninsula was very different from the way of thinking of the Greeks.

For example, the Roman manifestations had an urban and warlike inclination, which they united with the aesthetic sense of the conquered peoples. In other words, while the Romans acquired the refined taste of other cultures, their artistic interest was much more practical and with strong military leanings.

Likewise, Roman art did not have notable evolutions (unlike Greek art, which was divided into three major periods, these being archaic, classical and Hellenistic). On the other hand, his artistic manifestations were quite uniform; this as a consequence of the strong centralism that the empire exercised during its heyday.

However, the authors have been able to establish four stages or styles within Roman pictorial expressions:

Inlay style (first period)

This stage has its influences from the Hellenistic period and can be chronologically located in the 2nd century BC. Its aesthetic is based on the decoration of the marble walls, where the pictorial object was divided into three horizontally placed bands.

The lower band functioned as a plinth, while the middle band in turn broke down into other colorful layers. Lastly, the upper band consisted of a white frieze that completed the entire representation.

These paintings can only be viewed in the ruins of Pompeii, where they were best preserved.

Architectural style (second period)

This pictorial period emerged in the 1st century BC. C. and it extended until the beginnings of the Roman Empire. It was called "architectural style" as the artists revealed an interest in opening the walls in order to build a certain notion of perspective, offering the viewer a simple sense of depth.

To achieve this effect, painters introduced painted architectures, that is, they painted columns, windows, entablatures and niches, which generally led to an imaginary landscape or garden. Of these specimens some frescoes were preserved in Rome and Pompeii.

Ornamental style (third period)

This style coincided with the architectural style, as it developed during the 1st century BC. During this phase, architectural effects were eliminated and paintings with landscapes and figures were given greater relevance.

Consequently, the concern for perspective was lessened and the number of decorative elements increased. The ornamental style ceased to be practiced with the arrival of Nero to power.

Architectural illusion (fourth period)

It is located in the middle of the 1st century BC. C. and worked as a synthesis of the other previous styles. Therefore, in the fourth period a fantastic scenography dominated where imaginary or mystical motifs were mixed with architectural spaces.

Some authors affirm that it was a conceptual baroque -although the term is anachronistic-, since through the spaces it was sought to cause optical illusions. The relief of these paintings was achieved through the use of stucco.

These specimens could be preserved both in Rome and Pompeii and maintain a certain influence of Egyptian art.

characteristics

- Roman painters focused on depicting mystical and historical themes, as well as landscapes and natural elements.

- Due to the influence of Greek and Egyptian art, Roman painting maintained a certain hieratic in its figures. That is, rigidity and immobility. In addition, the union with the architectural elements accentuated the sculptural and immobile character of the figures.

- The most used colors were red and black. However, they also used some greens. It is important to add that Roman painters did not like to mix colors, so the tones were quite purist.

- The paintings were done in fresco, which has impaired their conservation over time. In addition, most of the works lack authorship.

Topics covered

The central themes of Roman paintings were religion and history. Therefore, their representations were made up of events from Roman mythology and important historical, war and political events.

However, during excavations in the ruins of Pompeii and Herculaneum, archaeologists found interesting paintings depicting erotic scenes. These images were used to decorate the baths of the city and have served as a reference for researchers to learn about the sexual customs of the time.

Likewise, the vessels found were decorated with actions of daily life, which has allowed researchers to make a remarkable approach to the social organization of this ancient civilization. For example, festivals and weddings were sometimes represented, as well as some trades such as writing or cabinetmaking.

The vessels found were decorated with actions from everyday life. Source: pixabay.com

Featured Works and Authors

As mentioned in previous paragraphs, most Roman paintings lack authorship. This could have happened due to the problems that painters faced when conserving their pieces, which detracted from the artistic work.

For this same reason, the Romans valued the sculptures more, since they were more durable in time and required more effort.

Although the name of the authors is unknown, archaeologists and researchers have managed to rescue the following works:

Aldobrandine weddings

It is a fresco painting probably made during the time of Augustus and is considered the most important artistic specimen of the Pompeii excavations. It was found in 1606 near Mount Esquilino, formerly the Mecenas gardens.

In the work you can see a triptych that is divided by two columns and in which ten characters appear. In the center of the painting is the bride, wearing the typical wedding veil. She is accompanied by a woman with a bare chest, who supposedly could be the personification of the goddess Aphrodite.

On the left, there is a young woman who mixes perfumed oils, which will be used to anoint the bride's body. On the right, the groom is seated on a platform accompanied by three young men, who make offerings and sing.

The painting was acquired by the cadernal Aldobrandini, which gave the work the nickname. Later, it was bought by the banker Vicente Nielli in 1812, who then gave it to the Vatican Museums.

Paris judging the three goddesses

In this fresco painting, the mythological story of Paris and the three goddesses are represented. In this story, it is said that the goddess Eris - personification of discord - leaves a golden apple at Peleo's wedding with the phrase "for the most beautiful."

The goddesses Hera, Aphrodite and Athena begin to dispute over the apple and, to end the conflict, Zeus decides to choose a judge to decide which of the three owns the big hand. For this, Paris, who was the prince of Troy, was selected.

The three goddesses try to buy the prince with different gifts, but Paris ultimately chooses Aphrodite, who had promised him the love of Helena, the most beautiful woman in the world. However, Helena was married to King Menelaus, which eventually triggers the king's revenge and results in the famous Trojan War.

It is a simple and hieratic representation, where Paris is seen sitting on a rock observing the three goddesses: Aphrodite comes out naked, while Athena carries her weapon and shield; Hera keeps the typical wives' toga.

References

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