Wealth, and the importance of showing off one's wealth, led to an increasing demand for fine arts. Below is the Gemma Augustea, a Roman sardonyx cameo from the 1st century AD.
Art historians have traced this piece to a Greek artist in Rome, but the unique stone appears to come from a region in India. To have wares and precious stones travel from India to Italy would fit within the Roman Empire’s protective boundaries and thus be compatible with the idea that an artist in Italy could use stone from India for specific purposes. (Atlas of World Art, 67)
In comparison, people developed art at varying rates in the Americas as well. In North America, the tribes in Alaska at this time were making art and figurines with minimal detail. Though experienced in working with walrus ivory, the art from excavations around Alaska indicate the harsh conditions of the people.
Scholars from the Metropolitan Museum of Art identify this figure as a rough outline of a human form, though it is just barely recognizable as such. This carving from walrus ivory occurred sometime between 200 BC and 100 AD - around the same time the Roman Empire lavishly endowed the arts. These photos contrast the wealth and development of two cultures that coexisted at the same time in history. Alaska's harsh climate and lack of access to trade hindered artistic refinement while the Roman Empire's access to metals, stones, and specialized artisans contributed to innovation and specialization within the art world.
As Rome conquered much of Europe, they brought their artistic ideas and techniques with them. After the fall of the Roman Empire, artists continued to use many of the techniques introduced to Europe from the Roman Empire until when Europe began exploring new forms and methods of art during the European Renaissance. (Gardner's Art through the Ages, 247)
Sources/References:
"Gemma Augustea." Britannica Online Encyclopedia. Web. 7 Apr. 2010.
"Human Figure." Heilbrunn Timeline of Art History. The Metropolitan Museum of Art, New York. Web. 7 Apr. 2010.
Atlas of World Art, pg. 66-67
Gardener's Art through the Ages, 164, 247
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