Etruscan Art corm Tenth Century B.C.E. to ¢. 270 B.C.E. Height: seventh-sixth centuries 8... KEY IDEAS * Most of what is known about Etruscan civilization comes down to us in elab- orate necropoli filled with tombs that resemble large rooms in a home. + Etruscan sculptures and temples are heavily influenced by Archaic Greek works. * Etruscan sculptors excel in bronze and terra-cotta production. HISTORICAL. BACKGROUND ‘The Etruscans are the people who lived in Italy before the arrival of the Romans. Although they heavily influenced the Romans, their language and customs were dif- ferent. The ravages of time have destroyed much of what the Etruscans accom- plished, but fortunately their sophisticated tombs in huge necropoli still survive in sufficient numbers to give us some idea of Etruscan life and art. Eventually the Romans swallowed Etruscan culture whole, taking from it what they could use. CHARACTERISTICS OF ETRUSCAN ARCHITECTURE Much of what is known about the Etruscans comes from their tombs; which are arranged in densely packed necropoli throughoue the Italian region of Tuscany, an area named for the Etruscans. Most tombs are round structures with a door leading to a large interior chamber that is brightly painted to reflect the interior of an Exruscan house. These homes frequently have symbols of the Etruscan lifestyle on their walls. The tombs usually have massive reserve piers with Ionicrlike capitals. Entite families, with their servants, are often buried in one tomb. 125126 AP Art History Little is known about Etruscan temples, except what can be gleaned from the Roman architect Vitruvius. Superficially, they seem to be inspired by Greek build- ings, with their pediments and columns, and the cella behind the porch. But Exruscan buildings were made of wood and terra-cotta, not'stone. Moreover, there is a flight of stairs leading up to the principal entrance, not a uniform set of steps sur- rounding the whole building. Sculpeures were placed on the rooftops, unlike in Greek temples, to announce the presence of the deity within. Major Work of Etruscan Architecture Model of an Etruscan Temple (Figure 6.1) + Not much survives: this model is drawn from descriptions by Vitcuvius, a Roman architect during the first century B.C.E. * Temple made of mud-brick and wood * Steps in front direct your attention to the deep porch + Influences of Greek architecture in the columns and pediments + Raised on a podium + Three doors represent three gods Figure 6.1: Model of an Etruscan Temple CHARACTERISTICS OF ETRUSCAN PAINTING ‘What survives of Etruscan painting is funerary, done on the walls and ceilings of tombs—some 280 painted chambers are stil extant: Brightly painted frescoes reveal a world fall of cheerful Etruscans celebrating, dancing, eating, and playing musical instruments. Much of the influence is probably Greek, but even less Greek painting from this period survives, so it is hard to draw firm parallels. Major Work of Etruscan Painting ‘Tomb of the Leopards, c. 480-470 B.C.E., Tarquinia, Italy (Figure 6.2) + Banqueting couples reclining while eating in the ancient manner + Ancient convention of men painted in darker colors than women + ‘Trees spring up between the main figuies, and shrubbery grows beneath the reclining couches—perhaps suggesting a rural setting ee” Pati one bi intended, but the emotions are of ration time * Ceiling has polychrome checkerboard pattern; circles may symboli ‘ Dancing figures on right play musical instruments in festive celebration of the deadEtruscan Art 127 CHARACTERISTICS OF ETRUSCAN SCULPTURE Terra-cotta, stucco, and bronze are the preferred media for Etruscan sculpture; on occasion, stonework was introduced. Terra-cotta sculptures were modeled rather than carved. The firing of large-scale works in a kiln betray great technological prowess. y Most Etruscan sculpture, like the Apollo from Veii from c. 510 B.c.e. (Figure 6.4), shows an awareness of Greek Archaic art, although the comparisons go only so far. In Greece, kouros figures were carved as stoic and proud, with an occasional smile to give life, For the Etruscans, whose terra-cotta work is brilliantly painted, fig- ures move dynamically in space, aware of the world around them. Both cultures emphasize the broad shoulders of men and a stylization of the hair; however, the Etruscans avoid nudity. Major Works of Etruscan Sculpture Sarcophagus from Cerveteri, c. 520 B.C.E., terra-cotta, Museo Nazionale di Villa Giulia, Rome (Figure 6.3) * Sarcophagus of a married couple, whose ashes were placed inside + Full-length portraits * Both once held objects in their hands—perhaps an egg to symbolize life after death * Great concentration on the upper body; less on the legs * Bodies make an unrealistic’ L-turn to the legs © 520 Bice, rerm-cott, Museo Narioale * Ancient tradition of reclining while eating i Villa Giulia, Rome + Represents a banquet couch + Symbiotic relationship: man has a protective gesture around the woman; the woman feeds the man; reflects the high standing women had in Etruscan society * Broad shoulders; not much anatomical distinction + Emaciated hands Apollo from Veii, c. 510 B.C.E., terra-cotta, Museo Nazionale di Villa Giulia, Rome (Figure 6.4) * One of four lange figures that once stood on the Temple at Veli * Figure has spirit, moves quickly as it strides forward * Stood on the roof of the temple: an Etruscan innovation, meant to be seen from below * Archaic smile Figure 64: Apollo from Ve, c. 510 B.C, terra cotta, Museo Nazionale di Vila Giulia, Rome128 AP Art History Figure 6.5: Capitoline Wolf c. Capitoline Wolf, c. 500 8.C.E., bronze, Capitoline Museum, Rome (Figure 6.5) * Alert, snarling, protective, aware, tense, watchful; fierce * Very thin body . * Wolves have no manes or curly ringlets of hair + Face is not wolflike * Story of Romulus and Remus abandoned by their parents; suckled by the She-Wolf; later became founders of Rome 500 B.CE., bronze, Capitoline . * Children added later in the Renaissance ‘Museum, Rome VOCABULARY Necropolis (plural: necropoli): literally, a “city of the dead,” a large burial area Stucco: a fine plaster used for wall decorations or moldings ‘Terra-cotta: a hard ceramic clay used for building or for making pottery (Figures 6.3 and 6.4) Summary RE “The Etruscans were a people who occupied central Italy before the arrival of the Rontians—indeed, the region Tuscany is named for them. The remains of their civi- lization can be gleaned from written sources of later historians like Vieruvius or from what was buried in their expansive necropoli. The Etruscans erected large mound-shaped tombs that contained a single large room in which the deceased were interred. The wall murals and stucco designs on the interior of the tombs are thought to parallel the interior of Etruscan homes. Large sarcophagi, made of terra-cotta, were placed within the tomb, usually containing the ashes of the deceased. The style of these works betrays a knowledge of Archaic Greek works from around the same time. “The Etruscans were eventually overwhelmed by the Romans, who continued to employ Etruscan artists well into the Roman Republic. Practice Exercises 1, Etruscan sculprure is different from Greek sculpture in that in Etruscan art (A) figures smile (B) heads are proportionally smaller (© terra-cotta is favored (D) relief sculpture dominates sculpture in the roundEtruscan Art 129 Question 2 refers to Figure 6.6. 2. This sculpture represents an episode concerning (A) the founding of Rome (B) the birth of the gods (©) the mix between the people and animals (D) a story from the Bible 3. Etruscan temples resemble Greek temples in that they both Figure 6.6 (A) have sculptures on the roof (B) are made of wood and mud-brick (©) have pediments (D) have a central fight of stairs 4, Etruscan tombs are unusual in that they (A) are carved from the living rock (B) are made of terra-cotta (© have a number of occupants (D) look like a domestic interior 5. Eeruscan sculptures are unusual in thar they afe (A) very heavy (B) placed on the roofs of temples (C) located in pediments and in cellas (D) small and delicately carved Short Essay Identify this work from the Etruscan civilization, How does the artist reflect society's view of Etruscan relationships in this sculp- ture? Use one side of a sheet of lined paper to write your essay. Figure 67 Answer Key 1 © 3. 5. (B) 2. (A) 4. (D)130 AP Art History _ Answers Explained Multiple-Choice 1.°(©) Terra-cotta is a specialty of Etruscan art. 2. (A) Depicted here'is the story of Romulus and Remus, and the act set before the founding of Rome. 3. (©) Etruscan temples have characteristics in each answer choice. Only pedi- ments are characteristic of both Etruscan and Greek temples. 4, (D) Etruscan tombs look like the interiors of many homes, complete with stucco versions of implements commonly found in kitchens. 5. (B) Etruscan sculptures, even the life-size ones, are sometimes placed on the roofs of temples. ‘The student identifies the work and understands how the partnering of the man and the woman expresses an equality unusual in ancient art. Discussion is full and without major errors. “The student identifies the work and understands how the partnering of the man and the woman expresses an equality unusual in ancient art. Discussion is less full than a 4 and may contain minor errors. This is the highest grade a student can earn if he or she does not iden- tify the name of the work. Discussion is superficial and may contain major errors. The student identifies only the work, OR the student expresses only a superficial understanding of the relationships between the figures. Discussion may contain major errors. The student makes an attempt, but the response is without merit.Etruscan Art 131 Short Essay Model Response This work is the Sarcophagus frow Cerveteri. It is an Etruscan piece made out of terracotta. This sculpture reflects the Etruscans’ view on the relation- ships between men ana women and thetr place in Etruscan society. The fig- tures are depicted eating while reclining oma couche as was the ancient custom, Both figures are smiling —enjoying themselves —although their bodies are itv an abnormal position, that: is, their legs are at a right angle to their chests. The woman ts feeding the many providing sustenance, asd eat- tng as well. The maw has his hands around the woman, showing that he is her. Based, on the actions and. positions of the man and woman, one can conclude that the Etruscans viewed men and women as virtual equals, The sculpture indicates a symbiotic relationship betroeen the two: she provides the food, he provides the protection. tons Ts Eruscanportriyal of equality of the sexes was a concept that civilizations much later in time would develop, anal was absent from the mindset of Greeks, Romans, and, other ancients. —Eric E. Analysis of Model Response Eric identifies the work immediately. Although extraneous information, such as the medium being terra-cotta, does not contribute to the score, it expresses a greater understanding of the sculpcure in the context of Etruscan art. Eric goes on to show how the arrangement of the figures and their symbolic gestures can be interpreted to mean a “symbiotic relationship” is expressed. This essay merits a 4.