Etruscan art


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Etruscan art

(ĭtrŭs`kən), the art of the inhabitants of ancient Etruria, which, by the 8th cent. B.C., incorporated the area in Italy from Salerno to the Tiber River (see Etruscan civilizationEtruscan civilization,
highest civilization in Italy before the rise of Rome. The core of the territory of the Etruscans, known as Etruria to the Latins, was northwest of the Tiber River, now in modern Tuscany and part of Umbria.
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). Archaeologists have been unable to trace the precise development of Etruscan art. Although much is clearly owed to Greek sources, Etruscan works have a definite character of their own. While Etruscan forms are recognizably Hellenized, the underlying spirit retains an energy difficult to achieve in the Greek search for precision. Additionally, the Etruscans kept up a large commerce with the East, and many of their art motifs derive from the Orient. The principal centers of Etruscan art were Caere (Cerveteri), Tarquinii, Vulci, and Veii (Veio). As a consequence of abundant ore deposits, bronze statuary was common and the Etruscans brought the art of bronze working to a very high level of achievement. They were also experts in the art of ironworking, Etruscan goldwork was among the finest anywhere in the ancient world, and large-scale carvings were common. Extant examples of their craftsmanship in bronze include the large portraits Brutus (Palazzo dei Conservatori, Rome) and Orator (Museo Archeologico, Florence). Most Etruscan sculpture, however, was executed in clay. The Etruscan cult of the dead, similar to contemporaneous Egyptian practices, produced a highly developed sepulchral art. Clay sarcophagi and urns were modeled with great skill. The sculptured lids of sarcophagi often represented a single figure or a couple reclining on a couch. These figures wore the haunting archaic smile evident in early Greek sculpture. The amazingly naturalistic Etruscan portrait busts were probably a source for later Roman portrait sculpture. The Etruscans were particularly noted for their black bucchero pottery and were experts with the potter's wheel. Fresco paintings were abundant in Etruscan underground funerary vaults, works that frequently depict banquets, festivals, and scenes of daily life. Executed in a strictly two-dimensional style and decorated with foliage motifs, many of these tomb paintings are still extant. By the 1st cent. B.C. Roman artRoman art,
works of art produced in ancient Rome and its far-flung provinces. Early Influences

From the 7th to the 3d cent. B.C., Etruscan art flourished throughout central Italy, including Latium and Rome.
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 absorbed the Etruscan.

Bibliography

See studies by E. Richardson (1964, repr. 1976), A. Boethius and J. B. Ward-Perkins (1970), M. Sprenger and G. Bartoloni (1983), R. Brilliant (1984), O. J. Brendel (and F. R. Serra Ridgway; 1979, new ed. 1995), and N. J. Spivey (1997).

References in periodicals archive ?
Lawrence (1885-1930) to write Etruscan Places, his perceptive travel account of Etruscan art and civilisation which was first published posthumously in 1932.
476) borrowed heavily from the Greek and Etruscan art styles to create their own classical art forms.
The fascination that emanates from his sculptural work is determined in part by diverse references to classical forms from the Renaissance and Etruscan art.
e museum incorporates collections from the old Hancock Museum and Newcastle University's Museum of Antiquities, the Shefton Museum of Greek and Etruscan Art and Archaeology, and brings together the North East's premier collections of archaeology, natural history and geology under one roof.
Thus, Rick is intrigued when a former schoolmate in the Ministry of Culture asks him to help crack a ring of thieves dealing in stolen Etruscan art.
The 18th century was a period of enthusiasm for Etruscan art and civilization.
As witnessed by images; the Trojan War tradition in Greek and Etruscan art.
Starting with the Leon Levy and Shelby White Court, the installation continues on the mezzanine level where galleries for Etruscan art and the Greek and Roman study collection overlook the court from two sides.
The Metropolitan Museum of Art plans $900 million in interior construction projects aimed at dramatically enhancing the museum's displays of Hellenistic and Roman art, Etruscan art, Islamic art, 19th-century art, modern art and modern photography.
Emeline Richardson's The Etruscans: their Art and Civilization (Chicago 1964) took a different slant, particularly on questions of art; and Otto Brendel's Etruscan Art (Penguin 1978, 2nd edition, 1995), with much added by Emeline Richardson (including the choice of most illustrations, and the whole of the important Hellenistic section), raised the bar for the study of their art.
If someone had a piece of Etruscan art it is unlikely to be returned as there are no Etruscans left as an indigenous people.