Verism: Portraying Power and Ancestry

Heavily wrinkled, with sagging jowls and a thrusting jaw, the face of a Roman aristocrat stares back at us from the time of the late Republic, his countenance meaning to convey his seriousness of mind (gravitas) and the battle scars earned through a life of public and military service. The Veristic style (from the Latin verus meaning true) sought to emphasize certain aspects of character, to show wisdom, maturity, authority and a distinguished family lineage. This may seem strange to us in our modern world, where youth and beauty are seemingly to be strived for, but in the Roman Republic, Verism, the style of portraiture that depicts an exaggerated likeness of an individual, crafted to appear aged and care worn, was one of many ways to help compete in an increasingly volatile political culture that had an embedded hierarchy, extremely rigid gender roles, and ultimately, prized machismo over all else.

It was in a sense, overt Roman propaganda. In the Roman Republic it was often aristocratic middle age males, who adopted verism in their sculptures. This trend in sculpture was influenced by deep-rooted respect for one’s family and ancestry. Death masks of notable ancestors (called imagines) were displayed by the family in their homes, and sometimes brought out for display at times of family celebrations, such as the bestowing of a military command, or an important governmental role, or at the time of a deceased family members funeral.

In some aristocratic families, these imagines (which were made of wax, none of which have subsequently survived to the present day) were used at funerals by an actor portraying the deceased persons ancestors in a play or parade, to bring the individual back to life, so states the Greek historian Polybius in his Histories.

For a Republican politician without any famous ancestors, a man known as a new man or novus homo (Cicero comes to mind here), the need could be even greater, as he had to struggle hard just to keep level with his erstwhile colleagues, having to rely on his skill at his chosen profession, or a lucky break. Often, neither of these were enough.

Verism reached it’s height during the last days of the Roman Republic, where trying to ensure one’s political survival was so important, and these sculptures are very much a reminder of how the public were persuaded to perceive important public figures.

When, at the end of the Republic Augustus became emperor, he brought back the classical style of portraiture to highlight his imperial image, and created a whole new scheme for the artform that was fresh and new, and yet based on the old and familiar aspects of traditional Roman art. This reintroduction put paid to verism as a style of portraiture for the ruling elite.

The features of the Classical style include an emphasis on youthfulness, the appearance of curled locks, very smooth skin and delicate features. It was meant to connect Augustus to the “golden age” of Ancient Rome. It was extremely important for the young emperor to create useful propaganda, an image to bolster his succession as the rightful heir of his great-uncle, the Dictator Julius Caesar.

Verism is not regarded as the main style of art we typically associate with the ancient Romans today, the greco-roman classical style and influences of Hellenistic art have held great sway over the artistic history of the Roman Empire, from Augustus through to Trajan, Hadrian and beyond, influencing the way we think of a Roman Emperor today, wearing a laurel wreath as a symbol of triumph, of leadership, and most importantly divinity.

Reference: The three photographs of the Head of a Roman Patrician from Otricoli, c. 75–50 BCE, held in the Palazzo Torlonia, Rome, were taken by Steve Zucker