/ic/ - Artwork/Critique

[Anonymous No.2669648]

Did the Romans "Make it"?

[Anonymous No.2669650]

No.

[Anonymous No.2669673]

Their sculptors did.

[Anonymous No.2669679]

>>2669673
Their painters probably did too. All contemporary accounts basically praise their painting more than their sculptures, it's just we don't have much that survived in terms of paintings, or the ones we have are shit like encaustics which are basically impossible to use well.

[Anonymous No.2669887]

>>2669650
>Memereau and his boring passé, safe and unoriginal reharsals of better, more innovative masters of old
>Making it

[Anonymous No.2669888]

>>2669648
>those anime eyes
no

[Anonymous No.2669895]

>>2669888
But it's how the Roman Egyptians looked

[Anonymous No.2669895,1]

keep in mind, roman sculptures were painted..

[Anonymous No.2670018]

>>2669648
It's safe to say they probably did make it but the materials they used are all rotted away at this point.
Wouldnt surprise me if rennaisance painting was just people applying ancient knowledge that they traded orally over the centuries

[Anonymous No.2670384]

>>2670018
>Wouldnt surprise me if rennaisance painting was just people applying ancient knowledge that they traded orally over the centuries
There's some similarities in paint stroke and layering technique with ancient frescoes and Renaissance paintings, but most of it was lost during the dark ages. There was an unbroken line of painters imitating the generation immediately before their time for a thousand years, but there's hardly any purity to be expected from that. There are some today who claim to have an educational lineage dating back to Leonardo, and yet the approach to painting in every way is hardly similar.

Observing nature again as well as ancient sculptures was what made the Renaissance seem like the Romans who also observed nature. Ancient frescoes like the one shown in the OP were not known in the Renaissance.

The painting of the flesh in the Renaissance from what I can tell is closer to the practice of medieval manuscripts, of painting a white tinted with red over a gray-green under-layer. Although it's difficult to say if it was indeed from the manuscript art that they came to that practice, especially since there are some Renaissance masters who did not employ that technique. The flesh of ancient frescoes, especially in the shadows, are consistently of a more ruddy tonality. There are many examples where the lights are painted over the middle color as I have witnessed in person. The shadows and lights are some times hatched in a manner and feeling similar to Renaissance drawing. The painting of drapery folds is what's strikingly most similar.

[Anonymous No.2670386]

>>2669679
Those that were often praised the most are on canvas, too, and framed. The same as Renaissance mode. The practice of framing a painted canvas is an antiquarian aspiration, taken from literary accounts, if I recall correctly.

[Anonymous No.2670410]

>>2669673
woahh blog????

[Anonymous No.2670471]

>>2669679
They didn't know about perspective though.

[Anonymous No.2670472]

[Anonymous No.2670473]

[Anonymous No.2670475]

Their military was fashionable.

[Anonymous No.2670476]

[Anonymous No.2670479]

[Anonymous No.2670481]

[Anonymous No.2670483]

[Anonymous No.2670485]

[Anonymous No.2670896]

>>2670485
>>2670481
Very nice. Thanks for expanding my collection. The rocks and drapery are especially agreeable.

The panel paintings were very likely a lot more worked out than these, as with frescoes one must work quickly. I can imagine they might have looked somewhat like Mantegna's paintings.

[Anonymous No.2670904]

>>2669673
Boring stiff sculpture with copied generic anatomy, Id be more impressed if they could give me a dynamic animu girl from imagination

[Anonymous No.2670930]

>>2670471
>implying perspective is necessary for good art