Art of Eturia. ceramics, sculpture and goldsmith
Etruscan ceramics
In Etruscan ceramics, the terracotta technique above all was widely used in sculpture, in the production of masks and sarcophagus decoration, were performed for both domestic and funeral use.
The largest amount of the splendid ceramic recovered in the necropolis of Eturia were essentially imported from the cities of Greece and Magna Greece, being part of the network of exchanges and bus affordable and economical than imported. The smallest price of these works did not indicate at all that they were of lower quality since it is difficult to discern between them.
Some teachers in the realization of Greek ceramics (such as Demerito di Corinto) They opened workshops specialized in the main cities of Eturia, spreading their work systems: they taught to purify and waterproof the clay, they also introduced the use of the lathe, introduced new forms of realization and the decoration painted with colors made on mineral bases. The style in which they are made resemble the Greek.
The geometric style is stylized by becoming a naturalistic nature to present reasons with inspirations based on the episodes of mythology.
Etruscan ceramics in the buchero technique.
The most outstanding Etruscan ceramics is made in the Buchero technique (derived from the Spanish word búcaro) which is a ceramics made using a much more refined clay and whose termination is much more polished because they use the fine and rich iron grain. Its texture was fragile and porous, black or dark gray, becoming bright and beautiful when it is polished. This type of ceramic was produced since the middle of the seventh century ac
It was cooked in a smoked atmosphere devoid of oxygen that reduced the porosity of the surface of the object by being impregnated with coal particles. This type of technique was known by other cultures but the Etruscans raise it to a degree of perfection when using the refined clay obtaining as a result a black color even more uniform. This ceramic bucco in a first archaic period of its realization was a bit loaded and tended to be profusely decorated, and for the 5th century the production of these was stopped. Approximately in 550 AC the Corinthian ceramics of black figures was the one that remained dominating the Etruria market.
It is known that ceramist teachers from Ionia not only dominated the Etruscan market but also came to make productions in the same Etruria being very important their Caeretan Hydrae; made in Cerveteri. Athenian ceramist teachers even export to Eturia a special line of their production when the ceramics of black figures and that of red figures began to gain in popularity and demand, thus dominating the market.
Meanwhile, the Etruscan ceramists produced the ceramics of black figures but with great Greek influence on their forms and designs, later also making the ceramics of red figures already for the V Century AC, only that following the style called Actic that was carried out in the city of Vulci and the Castilian Civita. The glazed black ceramic also had popularity as well as the one they produced with silver colors that imitated the metal; Very sophisticated these were a commercial and demand success in the Hellenistic period producing in the central region of Eturia.
The sculpture
The Etruscans did not use marble Despite its Greek influence on its sculptural productions, however the terracotta and local stones were widely used mostly for the elaboration of low reliefs, funeral sculptures as well as religious for temples decoration. Sculptures were also produced for the decoration of the houses of the wealthy people who could afford them.
Etruscan sculptures made in bronze
However, when the bronze was treated, these sculptures were carried out only for the decoration of religious and funeral theme. The issues of daily life, or of a profane nature according to the evidences preserved so far; They do not show that they have been prepared using bronze.
– Highlights the bronze sculpture of the Capitoline wolf carried out around the 5th century presumably in the first half of this century and whose well -known image is shown in the article dedicated to Etruscan history and culture on this site.
– The Arezzo chimera (380 – 360) ACT related to the Greek classic models of praxitels and harp.
– The sculpture of the so -called Mars of Todi around 400 AC and that represents an Etruscan warrior with the typical costumes. This sculpture already shows elements of Greek classic models of the schools of Fidias and Polylet.
Terracotta or mud sculptures (choroplasty)
– For elements of architectural production such as plaques, ancefijas and acroteras (sarcophagus). The productions of the city of Cerere stand out. IMPORTANT EXAMPLE The sarcophagus of the spouses made between the years 530 and 520 ac
– The productions of the city of Veyes. Religious sculptures and mythological themes. Important example (the Apollo) around the sixth century Representation of the God to natural size. Other Etruscan sculptures discovered in the same sanctuary in Veyes are made with the modeling technique and archaic representation elements from the influence of Greece and were destined to decorate the upper part of the temple. The name of the Vulca Etruscan sculptor from this region of Veyes is highlighted to whom the statue of Jupiter and Hercules is attributed.
– The Etruscan reliefs found fundamentally associated with funeral art are constituted by funeral steles, cipos and sarcophagi as well as zipper urns and reliefs in the walls that count on the life of the deceased and for whose images we have been able to obtain valuable data related to the Etruscan culture. Fortunately, enough decorative relief samples made with different purpose have come to assess or describe them.
Goldsmith and metal works of Etruscan art.
They stand out in the elaboration of refined and original pieces of goldsmith such as pins, bracelets, rings, necklaces, personal ornament jewels, decoration of daggers, shields, swords and pectorals among many other objects thanks to metallurgical development achieved by several of the Etruscan cities.
In a first period, archaizing influence from Greece Teachers with strong orientalizing influence in the VII and VI ac centuries is highlighted
Pieces were made using metal with techniques such as granulated, filigree and embossing. For evidence found in Vetulonia of small blocks and pieces unfinished in ivory it is known that there was a local production. Over time the local artisans were progressively adapting to the specific characteristics of the Etruscan culture; providing them with a little more freedom in the shapes but taking care of the beauty resulting from the pieces made. They worked silver and other metals producing diverse objects but always maintained a marked orientalizing influence.
The metal vessels made with the purpose of containing wine were reproduced in bronze, as well as other diverse objects, among which hand mirrors representing mythological scenes as well as scenes of the daily life that they possessed in many cases inscriptions with small messages, from here it follows that the main -client Etruscas women of these mirrors could read, at least the women aristocrats whose purchasing power allowed them to acquire them.
Etruscan objects for decorative use.
Beautiful objects made with ivory and amber were carried out mainly for jewelry and other body ornaments as well as for combs, small vessels to contain perfumes and ointments. Semiprecious stones cut rightly in the necessary ways to complement the decoration of rings, necklaces and earrings were carried out with mastery and attention to detail. Even today the ability of these artisan masters who with rudimentary tools achieved objects of such beauty.
It is true yes, that the Etruscans had a great Greek influence on their works of art, which imitated them because they knew how to appreciate their perfection; which came perfectly with the tastes and characteristics of their culture, but from there to say how many scholars of the subject have said; that they were mere imitators without intentions to create their own style; It really is an injustice and is derogatory and uncompromising to assert a testimony that all elements are not even known because many have been lost.
Deny that they had their own identity in the elaboration of their objects by the mere fact of using techniques and knowledge that were more than proven that they coupled in the taste of the time and also had great demand thanks to the perfection and beauty with which they were created; It is really going too far in the waters of ignorance and giving very little credit to a culture that can be said that it is now that its history and legacy a little better are beginning to be known.