" A Marxist critic for the prestigious journal Sur had praised her style for its "verism.
|
|
It wasn't until after the suicide of Nero in 68 AD that verism was revived. Bust of Vespasian, ca. 75-79During the Year of the Four Emperors (68-69 AD) that resulted from Nero's suicide, when Galba, Vitellius, and Otho all grappled for the throne, verism made a resurgence, as seen in obverse portraits of Galba on bronze coins or marble busts of Vitellius. When Vespasian and his sons came to the throne the Flavian dynasty harnessed verism as a source of propaganda.
|
|
Verism first appeared as the artistic preference of the Roman people during the late Roman Republic (147–30 BC) and was often used for Republican portraits or for the head of “pseudo-athlete” sculptures. Verism, often described as "warts and all," shows the imperfections of the subject, such as warts, wrinkles, and furrows. It should be clearly noted that the term veristic in no way implies that these portraits are more "real." Rather, they too can be highly exaggerated or idealised, but within a different visual idiom, one which favours wrinkles, furrows, and signs of age as indicators of gravity and authority.
|
|
Carved between 40 BC and 30 BC, during the decade of the civil war that followed Julius Caesar's assassination, the woman's face shows her advanced age. The artist carved the woman with sunken cheeks and pouches under her eyes to illustrate her age, much like male veristic portraiture of the time. Verism, while the height of fashion during the Late Republican era, quickly fell into obscurity when Augustus and the rest of the Julio-Claudian dynasty (44 BC-68 AD) came to power. During this imperial reign, Greek Classical sculpture that featured "eternal youth" was favored over verism.
|
|
The Berlin Green Head has been compared to the similar, yet earlier Boston Green Head, with the former one having lost part of the "verism" (among that, the asymmetry) which is more prominent in the latter one, yet without compromising the characterization of the individual represented on it.
|
|
1480 - Archaeological Museum, Athens - Pseudo-Athlete of Delos - Photo by Giovanni Dall'Orto, Nov 13 200 The term Pseudo-athlete is used to describe works of art from the Late Republican period in Rome that combine a veristic head with an idealized body that references Classical Greek sculpture. Verism is a style of Roman portraiture that portrays an individual with aging facial features, most notably sagging skin around the mouth and eyes, short-cropped or balding hair, and deep wrinkles on the forehead and around the eyes and mouth. These features were emphasized under the tradition of verism in order to stress an advanced moral and psychological consciousness that comes along with advanced age.Gisela M. A. Richter. (1955).
|
|
Yet what is important to note is that there is not one single accepted theory of the origin of verism. The question of veristic style remains to this day essentially open and unresolved. Each theory, while plausible in its own way, will require further research and adequate consideration among scholars.
|
|
However, the greatest efforts for naturalism and sometimes an almost brutal verism in royal statuary started with the Kushite kings of the 25th Dynasty.Russmann, Edna R. The Representation of the King in the XXVth Dynasty. p.10. Bruxelles : Fondation egyptologique reine Elisabeth; Brooklyn : Brooklyn Museum, 1974. Print. Such naturalistic tendencies were direct influences from Middle Kingdom statuary.
|
|
Veristic portraits of the late Republic hold a special fascination for classical art historians. Romans had inherited the use of sculpted marble heads from the Greeks but they did not inherit the veristic style from them. To scholars verism is uniquely Roman. Scholars have put forth multiple theories as to what or who were the precursors to Republican portraiture.
|
|
Some scholars refute this theory as being the cause of verism. Scholars doubt that Romans would not have been angered by the caricature like portrayal given to them by the Greeks. Many question why the Romans did not punish the Greeks for this obvious slight. Yet scholars who are in favor of this theory state that the Romans simply didn't care for this over realistic portrayal.
|
|
Suggested stylistic dates often fluctuate by two or three centuries leaving scholars with no solid evidence for when the style of harshly realistic Egyptian portraiture begun. Historians also note Romans did not have extensive military or commercial contact with Egypt before 30 BC, which was after the Late Republic when verism was being used on portraiture. Scholars conclude that it is unlikely that Egyptian portraits influenced the Republican style.
|
|
The Origin of Verism in Roman Portraits. The Journal of Roman Studies, 45, 39–46. The veristic features of the pseudo-athlete's head are juxtaposed with the figure's body, which is depicted in the guise of an athletic youth from Classical Greece. The pseudo- athlete's body is typically depicted in heroic-nudity with highly smooth muscular forms and are often shown in an active stance or standing in an S-shaped curved known as contrapposto.
|
|
As stated in the section above, verism first appeared during the Late Republic. The subjects of veristic portraiture were almost exclusively men, and these men were usually of advanced age, for generally it was elders who held power in the Republic. However, women are also seen in veristic portraiture, though to a lesser extent, and they too were almost always depicted as elderly. A key example of this is a marble head found at Palombara, Spain.
|
|
Portraiture, which survives mainly in the medium of sculpture, was the most copious form of imperial art. Portraits during the Augustan period utilize youthful and classical proportions, evolving later into a mixture of realism and idealism. Republican portraits had been characterized by a "warts and all" verism, but as early as the 2nd century BC, the Greek convention of heroic nudity was adopted sometimes for portraying conquering generals.Zanker, Paul (1988) The Power of Images in the Age of Augustus.
|
|
Ermete Zacconi (14 September 1857, Montecchio Emilia, Province of Reggio Emilia – 14 October 1948 in Viareggio) was an Italian stage and film actor and a representative of naturalism and verism in acting. His leading ladies on stage were his wife Ines Cristina and Paola Pezzaglia. His wife Ines Cristina was born into a family of theater actors to Maltese actor Raffaello Cristina and Italian actress Cesira Sabatini. The actor Olinto Cristina and the actresses Ada Cristina Almirante and Jone Frigerio were her siblings.
|
|
With these stubby figures clutching each other and their swords, all individualism, naturalism, the verism or hyperrealism of Roman portraiture, and Greek idealism diminish. The Arch of Constantine in Rome, which re-used earlier classicising reliefs together with ones in the new style, shows the contrast especially clearly. In nearly all artistic media, simpler shapes were adopted and once natural designs were abstracted. Additionally hierarchy of scale overtook the preeminence of perspective and other classical models for representing spatial organization.
|
|
Lotte Lasserstein at Leicester's German Expressionist Collection. Retrieved 17 March 2017 Her most famous paintings, for example Die Tennisspielerin (The Tennis Player, 1929), contributed to the verism of New Objectivity movement but also showed continuity with German Naturalism. Laserstein's masterpiece was the large (about 7– 8 feet wide) 1930 painting Abend über Potsdam (Evening over Potsdam), a frieze of friends sharing a meal on their terrace, with Potsdam's skyline arrayed in the far distance. The painting was so large that it needed the co-operation of friends to transport it.
|
|
Her novels tend to criticize social values and moral norms rather than the people who are victims of such circumstances. In her works it can be recognized the influence of the verism of Giovanni Verga and, sometimes, also that of the decadentism of Gabriele D'Annunzio, although her writing style is not so ornate. Despite her groundbreaking role in Italian and World literature, Deledda has failed to be acknowledged as a feminist writer, possibly due to her tendency of depicting women's pain and suffering as opposed to women's autonomy.
|
|
Etruscan Cinerary Urn, c. 150-100 BCScholars believe the ancient Italic peoples had an inclination to veristic representation leading to influence on later Roman art.Richter, The Origin of Verism in Roman Portraits, p. 39. From a central Italian provenance in ancient times tribes from this area used Terracotta and Bronze to make a somewhat realistic portrayal of the human head. Yet the ‘Italic’ heads, as they are called, are not seriously considered to be a favorable or strong theory held among scholars as being forerunners to the Republican portraits.
|
|
Scholars debate whether Egyptian influence started Roman verism. A group of portraits in hard Egyptian stone from the Roman Ptolemaic Kingdom show a harsh realism that is similarly seen in Republican portraits. Scholars believe the Egyptian portraits began to be made before the Republican portraits and strongly influenced the Romans into establishing the veristic style when Egyptian priests and cults came into contact with Italy and Greece. Although this theory like the others has merit, lack of concrete dating of this certain Egyptian style makes scholars doubt the creditability.
|
|
This progress in illusionistic effects in no way meant a rejection of idealism; statues of Greek gods and heroes attempt to represent with accuracy idealized and beautiful forms, though other works, such as heads of the famously ugly Socrates, were allowed to fall below these ideal standards of beauty. Roman portraiture, when not under too much Greek influence, shows a greater commitment to a truthful depiction of its subjects, called verism. Baptism of Christ, "Hand G" (Jan van Eyck?), Turin-Milan Hours. An advanced illusionistic work for c.
|
|
The Republic values of that time favored the straightforward and honest Roman citizen who did not need the deceits of art, but instead should be portrayed as they were, without artifice, for this would best bring out their Republican values. As a result, some art historians, like R. R. R. Smith, believe verism originated from the negative Greek attitudes, if not somewhat unconscious attitudes, the artists felt towards these particular foreign clients, which was allowed to work itself into the Roman portraits because the artists had been freed from the usual obligation to flatter and idealized the sitter and instead allowed to sculpt without artifice.
|
|
The novel follows the adventures of Proude Cedarfair as he leads a group of mixedbloods on a pilgrimage across a postapocalyptic, postindustrial United States that has run out of gas.Mixedblood messages: literature, film, family, place, by Louis Owens, University of Oklahoma Press, 2001, pp.83ff. This novel demonstrates several of Vizenor's key concepts: his use of trickster figures; his use of mixedblood (or "crossblood") Indian characters in a non-tragic way; his version of magical realism—what he calls "mythic verism"; and his conception of "postindian" identity; and his use of parody, as in the way the novel parodies both Chaucer's The Canterbury Tales and Frederick Jackson Turner's "Frontier Thesis".
|
|
Another theory presented to scholars in classical academia suggests that verism came about from Greek reactions to the conquering Romans. The theory goes that Romans in the Republic privately cherished the Hellenistic culture yet still held onto Republic values. This interest leaked similar portrayals seen in the more realistic Hellenistic royal portraits of the Pontic and Bactrian kings of the first half of the 2nd century BC, such as the slight turn of their heads and upward glance of the eyes, into Roman veristic busts. As Rome conquered Greece the empire saw an influx of talented Greek artists who were commissioned by the Romans to create their portraits that portrayed both the Hellenistic look and Republic values.
|
|
Sicilian-born, Verga lived in Florence during the same period as the verismo painters – 1865 to 1867 – and his best known story, "Cavalleria rusticana", contains certain verbal parallels to the effects achieved on canvas by the Tuscan landscape school of this era. "Espousing an approach that later put him in the camp of verismo (verism), his particular sentence structure and rhythm have some of the qualities of the macchia. Like the Macchiaioli, he was fascinated by topographical exactitude set in a nationalist framework"— to quote from Albert Boime's work, The Art of the Macchia and the Risorgimento. Verga and verismo differed from naturalism, however, in their desire to introduce the reader's point of view on the matter while not revealing the author's personal opinions.
|
|
Landscape featured among Edmond- Édouard Lapeyre’s Salon paintings on two occasions: the first time in 1909, with En patrouille, and a second in 1914, with La rentrée des gerbes. Here, rather than the kind of dark Naturalism found in Victor-Ferdinand Bourgeois' paintings, we find a sunny social realism in which farm workers are shown making their way back to the farm, their pitchforks over their shoulders, with the discreet but palpable satisfaction of a task properly done. This essential difference of temperament makes Lapeyre closer to the colourful verism of the Italian Macchiaioli than to that of his fellow French artists, even if the latter had distanced themselves from the austere Naturalism of Zola’s day. The serenity of the weather and generosity of nature in Lapeyre’s work, and that of Gaston Balande and Henri-Alexandre Sollier, are in contrast to the bleakness of his French contemporaries.
|
|
155 As a writer Vayreda is not clearly associated with any specific literary group. Some of his contemporaries considered him late follower of Walter Scott school;Joaquim Ruyra referred after Julià i Capdevila 1992, p. 138. Contemporary scholars maintain that Vayreda’s writing can be counted among none of the historical novel schools, be it the romantic gloom of Walter Scott, arecheologic verism of Flaubert, neo-romanticism of Sienkiewicz or scientific penchant of Ebers, Serrahima, Boada 1996, p. 128 others noted lack of romantic gloom and underlining at times bestial brutalitye.g. in La Punyalada the protagonists literally bite each other’s throats when fighting put Vayreda next to scandalizing naturalists like Casellas or Victor Catala.Serrahima, Boada 1996, pp. 140-141, also Fumanal i Pagès 2005, p. 94 Hints at modernismDasca Batalla 2004, p. 235 and symbolismwith special reference to Catalan "muntanya", forests and architecture, Requesens i Pique 1988, p.
|
|