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Similarities Between The Statue Of Augustus Of Primaporta

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Today’s issue with airbrushing models in advertising mimics ancient Roman propaganda, however perhaps not with the same motive. Augustus of Primaporta’s statue portraying him as a young man—when in fact he was 70 years old— is not unlike brands portraying models in a way that are not. It is interesting to see this issue spanning out from 20 BCE to present day.
The statue of Augustus of Primaporta, which stands in the Braccio Nouvo of the Vatican City, is a young man in military gear and in a strong, leadership stance. Despite what the statue portrays, Augustus was not young when it was created. This realization made parallels between it and the airbrushing industry of today apparent. Whether Augustus chose to be portrayed this way or not, the similarity between the two situations is easy to see. There is a plethora of before and after images showing how different people look once they leave their body in the hands of the magazine trying to perfect their image. This very situation has placed a target on “Photoshop as a big …show more content…

In a way, Augustus being portrayed as a more ideal version of himself could be seen as an ancient form of PhotoShop, showing a somewhat “airbrushed” Augustus.
In 20 BCE, changing someone’s appearance was not an issue. However, as time has gone on a negative connotation has been attached to being Photoshopped when it relates to altering someone’s appearance. It is believed that showing models with no flaws in the media is negatively affecting the body image of society, young girls in particular. According to Victoria’s Secret, there is a “perfect body,” and images were released in 2014 (Hadwin et al., 2015). The images were heavily photoshopped, as well containing models with the same body type. The campaign was soon changed due to

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One major contrast between the two is that in Dillard’s article, the main sculptures created by the Etruscans were the human like figures that stood flat footed as for the in the book Benton and DiYanni wrote on page 131, the twin infants added in the Renaissance actually became the symbol of Rome making the figures less important than what Dillard described them

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The Kelsey Museum Augustus, First Emperor of Rome, is similar and different to many Roman art pieces. The first very obvious style that can be seen is the Augustan period approach, the Augustus of Primaporta statue from Italy, marble copy, from early first century is a great example of this approach. They both have the same exact straight hair strand placement, face shape, and youthful idealized face. Augustus uses the same style throughout all his statues and reliefs, where his forehead is very wide and longer than his chin area. Unlike the prior Republican period style, the Augustan period rejects the veristic style, which is the very extreme expression of oldness.

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The statue of Augustus of Prima Porta’s function was used as propaganda to make a political statement. The statue shows Augustus wearing his battle gear with a small baby by his foot. Because of Augustus’ youth, he used this

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Even though the ivory relief has a religious overtone, both are clearly done in the Old and New Rome classical esthetic. “Cast in glittering bronze, like the Equestrian Statue of Marcus Aurelius set up nearly 500 years earlier, it attests to the continuity between the art Old and New Rome, where pompous imperial images were commonly displayed at the apex of free standing columns” (Kleiner 258). Both art pieces are a classic example of power, prestige and clemency during their time of

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The gesture of the hands is also similar to those of Augustus and may signify the act of a fallen opponent is aware or apparent before the sculpture was found before it was destroyed. The face of Aurelius also can be identified due to full beard and curly hair in the sculpture which signified intellect. The Roman bust was also a popular style of art in sculpture during Roman civilizations. The sculpture only represents the head of the person such as I portrait would. The wealthy people of Roman would usually get busts of their ancestors in put them in their homes which denoted their lineage.

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The Roman Empire, at its height (c. 117 CE), was the most extensive political and social structure of western civilization. Under Trajan, the empire reached its greatest territorial expanse and his admiration for Greek culture spurred new building programs and classicizing works of art throughout the empire. The marble representation of Trajan at the San Antonio Museum of Art known as (The Lansdowne Trajan, 98-117 A.D.) establishes Trajan as a skilled military commander, an affluent ruler and a god that’s why the torso of this sculpture belonged to a statue of a youthful god and later consolidated with Trajan's head. In The Lansdowne Trajan, the unknown artist utilized fine marble, contrapposto pose, shape and line to capture the dynamism of

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The orator stance seen in the sculpture Augustus of Primaporta depicts the efforts of Roman emperors to assert political authority and power. Through the employment of contrapposto adopted from the Greeks, a cool, calm, and collective nature was exhibited from the sculpture, portraying that Augustus inherently attained the traits of a proficient

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. The Laureate or laurel wreath is a symbol of Apollo and victory and its use here is clear in Augustus's use of him in his civil war, having prayed to him for success and the defeat of his enemy, it also refers to Augustus who had adopted him as his new patron God; the reverse with the nude Octavian is quite possibly in reference to the concept of the heroic Greek, or the heroism in nudity that the Greeks sought after in their artworks and seen as a positive and powerful image. One of the most obvious designs that began to circulate in which Augustus recognised his victories at Actium was [see Figure 11. Figure 12.] a set of denarius developed in 29-28 BC which were the famous AEGYPTO CAPTA set .

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This same figure and pose of Thesan would shine through in Roman art when depicting their gods in their art. Unfortunately, solely relying on the art and materials of this civilization can be faulty as the art and material alone can not always give the mindset and insight of the Etruscan

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the near-omission of the lower eyelids gives the face a dreamy expression, and contrast between the smooth skin and the rougher hair is remarkable” (Rijksmuseum van Oudheden). There is a clear deviation from the practice of sculpting the idealistic structured body common to the Classical period. Hellenistic sculptures embraced both the idiosyncrasies and imperfections of the subject matter in order to achieve a higher degree of realism. Ignoring the hard, chiseled form typical to the Classical period, Praxiteles’ modeling of soft flesh creates a sensuous and sentimental effect, emotions that play well with a subject matter like Aphrodite. His attention to detail has made Aphrodite the perfect embodiment of female beauty and sexuality, as it has been said that the sculpture was so lifelike, it aroused men and caused them to physically embrace the sculpture.

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It is the sculpture of a handsome and young ruler, namely, Augustus, sporting an ornamented cuirass and a tunic, with the figure of Cupid riding a dolphin on his side. The face reflects a youthful emperor, even though Augustus was about forty years of age when the statue was built. The Prima Porta style of facial composition comprises of, an expansive skull and slim chin, sharp-ridged eyebrows, hooked nose and a plump mouth and his hair is crowned with what is termed the Primaporta hairstyle. The breastplate is adorned with characters and is a composite of the narration of the Augustan and Tiberian propaganda, while he is barefoot. His right hand is

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