Venus arts

Question 1

Sculpture of the three graces

Answer 1

also found on the obverse of coins and in mosaic, even on a plaque in Berlin above a brothel/tavern - the sexualised version is only one kind - can represent more generally good fortune and plentitude, and exists in male versions such as the bronze men in a circle from Olympia, Athens NM.

Question 2

Roman mosaic of the Graces, Spain, Barcino

Answer 2

they are colourful and joyful

Question 3

Burial inscription with a relief depicting the Capitoline Museum

Answer 3

not just a sex symbol but a funerary motif - has inscription DIM/Paterna/aeposta

Question 4

Wrede

Answer 4

concludes that the freedmen of Rome appropriated the imagery of the upperclass and imperial image to augment their status.

Question 5

Bonafonte

Answer 5

nudity is worn as a costume

Question 6

Soranus’ Gynaecology and Polemo

Answer 6

talks about the human form on a sliding scale from masculine (positive) to feminine (negative).

Question 7

Mercury and Venus husband and wife sculptures

Answer 7

Vatican museums. Mercury has a connection to business and in turn the freedman class.

Question 8

d’Ambra on renewal (1996)

Answer 8

women expected to have multiple marriages and multiple rebirths, each taking on the same beauty as before. simultaneously ‘hypersexual’ and non sexual

Question 9

Fernandez-Gotz (2020)

Answer 9

against new materialism - can ignore the colonial and aggressive expansionist tactics of the ROman empire.

Question 10

symmetrical archaeology

Answer 10

gives humans and non-humans equal agency in analysing the past and decentres human actors.

Question 11

object agency

Answer 11

similar - sees the objects as provocateurs of change

Question 12

name 2 Venus cults

Answer 12

Venus Obsequens, 3rd c., Venus Veritcordia - turns women with hearts of lust to purity.

Question 13

binary terms - for against

Answer 13

for - helpful to illustrate hierarchies of power eg Roman vs native
against - these terms are only useful in the moment and immediate aftermath of invasion/

Question 14

Ferris, I. (2014)

Answer 14

the Pipeclay pseudo-Venus found in 1929 has similarities to a type found in 2009. both show signs of being deliberately broken for ritual use. guesthouse nearby? near a well attested cult - Matres Ollototae.

Question 15

Hellenised images of Aphrodite started to permeate Roman visual culture when?

Answer 15

in the augustan era (27-14)

Question 16

Roman classicism is a semoitic not aesthetic choice that conveys a message

Answer 16

Kousser (2010)

Question 17

Zanker and Holscher

Answer 17

characterised classicism as an elevated style suitable for the emperor.

Question 18

a frieze on the temple of Mars at the Augustan temple to Mars

Answer 18

Venus with contrapposto stance, shoulder bare, thin chiton. Mars sculpture is bearded and armed - allegory for the imperial system while celebrating a classical past.

Question 19

Example of Augustan Venus wall paintings

Answer 19

frescoes at the Villa Farnesina

Question 20

Eckhardt, H.

Answer 20

objects and material culture defines our identities

Question 21

Western archaeology - in a culture that prioritises the individual - but identity operates on levels beyond the purely individual.

Answer 21

Eckhardt.

Question 22

epigraphic evidence of british roman - ex africa domo

Answer 22

grave - testimony to the African presence in Britannia. concentration of these men in the Legio II Augusta.

Question 23

metal vessels from leicester and London

Answer 23

depicting sub-saharan african figures