Art History Ancient To Gothic Marble Statue Of A Wounded Warrior

ART HISTORY ANCIENT TO GOTHIC: MARBLE STATUE OF A WOUNDED WARRIOR

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Introduction

The Marble Statue of a Wounded Warrior is a significant Roman art depicting a rich

history of the Roman Empire. It is a statue from A.D. 138-181 showing a warrior who is

wounded. The underlying theme of the art is evident with certainty, particularly from its posture.

The Roman warrior holds the shield in his left arm and stands with his feet carefully placed on a

sloping surface. The view is able to see that the soldier is willing to meet his fate in the battle.

Evaluation of like sacrificing for your nation, confidence in a time of battle and emotional

impression. The unique iconography of the statue illustrates a worrier who is enthusiastic to die

from the act of protecting his country. Richter mentions that the person is in a contrapposto

position and depicts to be caught in the act of battle because he is bleeding.

This statue directly

correlates to the period of the Rome when worries would sacrifice themselves to defend the

territories of their empires. Notably, the wounded warrior is strong, and his wounds appear not to

be an impediment for him to continue with the battle. As such, the Marble Statue of a Wounded

Warrior sculpture denotes fundamental characteristics of a warrior including confidence,

strengths, and sacrificial attitude.

Analysis of Marble Statue of a Wounded Warrior

The sculpture was made during the mid-Imperial period, Antonine a time when the

Roman was experiencing numerous battles that shaped the empire. The art was created in 138-

181 A.D.

showing a confident Roman warrior. It has a dimension of 220.98 cm long.

Classification of the artwork is of stone sculpture and portrays the role of a warrior in ancient

Richter, Gisela M. A. Handbook of the Classical Collection. (New York: The Metropolitan Museum of Art), 1930,

14-17.

Metropolitan Museum of Art. Greece and Rome. New York: The Metropolitan Museum of Art. 1987, 5-6.

times. The warrior holds a spear in his right hand and a shield in his left hand illustrating the

protective role of soldiers.

The art exposes the role of protection which has to be done through sacrifice. A theme of

sacrifice is dominant in the artwork noting that a warrior is a person who is willing to do

anything to protect territorial boundaries. The ancient Greek warriors was the premiere of their

classical world as stipulated by Richter in Handbook of the Classical Collection.

They were

involved in intense internal warfare, and they perfected in their war tactics to defeat any invasion

from an enemy. Rome faced massive invasions, and attacks from outside forces including the

Persians. Through this art, the viewer gets critical insights of what it entailed to be a Roman

warrior in driving away the invaders. Besides, as the art statue denotes, the worries were willing

to go out of their way for whatever it takes to earn a good reputation for their nation. It can be

argued that for one to be a true roman worrier, giving up in time of war was not an option. One

was expected to have the zeal to peruse the desired goal of overpowering the opponent.

Therefore, warriors were a great symbol of the Roman Empire and deserved respect and special

treatment. These worries would withstand pain and torture in quests to safeguard their nation.

Stewart reports that during the Bronze Age, the Roman soldiers fought tirelessly with heroic

style.

The warriors were armed with spears and shields, and they went to war with only one

intention of winning the battle. Indeed, the prosperity of the Roman Empire and the ability to

keep away the invaders is linked to the great army of worrier which the empire possessed.

Richter, Gisela M. A. Handbook of the Classical Collection. (New York: The Metropolitan Museum of Art), 1930,

14-17.

Stewart, Peter. Roman Art. (Cambridge: Cambridge University Press), 2010, 40-21.

The art also shows a warrior with confidence and strength to endure all that is thrown at

him. The man in the sculpture is strong, tall and poised despite being wounded and bleeding. The

Marble Statue of a Wounded Warrior sculpture signifies the power that the Sparta and the

Athena warriors had in Rome to overpower the personas in the Peloponnesian War (431-404

B.C.). The posture is simply intriguing and elucidates how a warrior would showcase confidence

even in hard times. Notably, Marble Statue of a Wounded Warrior chronicles the legendary

aspect of a fighter seen from the idealized body of large and well-formed muscles.

The soldier

has a confident posture and this sheds light on the fierce nature of every Warrior. Army soldiers

also had to be resilient and tough in order to hold together the empire. This was particularly

during the imperial period in the 1st - 2nd century A.D. which was a period characterized by

war.

Arguably, the Roman art denotes a self-confident person who has the ability to bear war.

From the sculpture, the Warrior raises his arm communicating to the viewer that he is ready to

strike the opponent.

Marble Statue of a Wounded Warrior also strikes a fundamental aspect grounded in

emotional perspective. The emotional impression that the sculpture evokes in the viewer is

intense. Indeed, emotional portrayal in the art classical sculpture Marble Statue of a Wounded

Warrior portrays an unsightliness of injury in combat.

This theme is seen in the essence of

physical pain offering the viewer as a more compelling commentary of the nature of a soldiers

participating in the war. Startlingly colossal and dignified, the Roman sculpture seems to reveal a

paradigmatic Greek warrior upon being seen from the front. From the front view, the warrior

Metropolitan Museum of Art. Greece and Rome. New York: The Metropolitan Museum of Art. 1987, 19.

Nardo, Don. Ancient Roman Art and Architecture. (Detroit: Lucent Books), 2012, 17-19.

Duff, Alan, and Gabriele Pauer. Warriors. (Zu

rich: Unionsverlag), 2012, 7-9.

raises his arm showing that he is ready to launch a strike. However, a walk around the sculpture

reveals an emotional impression. After circumambulating the work, one is able to see the

unsettling nature of the warrior's foot. He is standing on a terrain that is uneven and distributes

his weight to the front, and the left leg remains cautiously tucked behind. The posture from

behind celery reveals how he is unstable and this could be either because of the wound he has.

The wound that he has is a striking evidence of the emotional nature of the art. He is bleeding,

and yet he has to remain standing in war. He leans from behind and yet he has to maintain his

perfect posture to continue with his task. He is a strong and outstandingly flashes his

muscularity.

Comparison with other Sculptures

The Marble Statue of a Wounded Warrior art can be compared to other works of Greek

which also depicted to have similar themes as it portrays. Similar sculptures that show what the

warriors faced in war include Wounded Warrior and The Falling Gladiator. Both artworks

denote an emotional aspect. For example, Wounded Warrior is a sculpture that is riddle with

anatomical imprecision denoting injury in combat. The Falling Gladiator also shows injury and

defeat of soldiers. The two sculptures indicate a direct comparison with a key aspect of

converging masculinity of a warrior. In the three sculptures, the theme of pain is evident and

makes the viewer sympathize with the soldiers.

Wounded Warrior and The Falling Gladiator

similar to Marble Statue of a Wounded Warrior communicate a key factor of the sacrificial

nature of a warrior. In all the artwork, the soldiers are wounded, and they have to attack the rival.

However, the rigidity that is evident in Wounded Warrior and Marble Statue of a Wounded

Warrior differ from that of The Falling Gladiator. The Gladiator denotes a character of despair

Rimmer, William. The Falling Gladiator: (England. Liverpool South Milford, Massachusetts), 1861, 11-13.

form his posture which is contrary to that of the marble statue. The wounded warriors demotes a

careful reconstruction of a physical appearance which is not the case with the Gladiator. In

co9ntracst, the Gladiator wants to fall down despite trying to be strong.

Warriors are movers and shakers in the society and have an inherent sense of

accomplishing success in what they do. Stewart in his book Roman Art shows that a warrior in

ancient time who was determined to defeat the opponent would not give up even when

wounded.

A warrior had to fight to win the battle and had to maintain a muscular body for them

to be strong. Losing was not an option, and ability to conquer the enemy was a factor that was

highly rewarded. “Warriors are the fearless foot soldiers who will go to the front line in any

battle and also very protective of their loved ones.”

For example, the Spartan and the Athenian

warrior played fundamental roles in the Peloponnesian War (431-404 B.C.). This was a war in

Rome which resulted from the rivalry of the two city-states and as well as from series of

conflicts that resulted into a historical detrimental war. Historically, when boys reached the age

of 7 years, training on how to be a warrior and become professional soldiers was paramount.

Conclusion

Indeed, the Marble Statue of a Wounded Warrior is an amalgamation of various themes

that the roman Warrior depicted to have. A walk around the sculpture makes one to witness a

number of the themes including emotional view, the confidence that Warrior need to have and

sacrificing for their nation. More importantly, protection of the territory was a key factor in

enhancing peace. Indeed, the Roman art work provides the viewer with a clear historical view of

the battles and how they were fought. There is no doubt that the sculpture ignites a feeling of

Stewart, Peter. Roman Art. (Cambridge: Cambridge University Press), 2010.

Ibid. 21-24.

sympathy as one is likely to develop compassion on the bleeding warrior. He remains strong and

confident despite being wounded in the process of battle.

Bibliography

Duff, Alan, and Gabriele Pauer. Warriors. (Zu

rich: Unionsverlag), 2012.

Nardo, Don. Ancient Roman Art and Architecture. (Detroit: Lucent Books), 2012.

Stewart, Peter. Roman Art. (Cambridge: Cambridge University Press), 2010.

Richter, Gisela M. A. 1930. Handbook of the Classical Collection. (New York: The Metropolitan

Museum of Art), 1930.

Metropolitan Museum of Art. Greece and Rome. New York: The Metropolitan Museum of Art.

1987.

Rimmer, William. The Falling Gladiator: (England. Liverpool South Milford, Massachusetts),

1861.

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Art history ancient to gothic marble statue of a wounded warrior

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