A Companion to Roman Art E-Book

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Serie: Blackwell Companions to the Ancient World
• Sprache: Englisch

Seitenzahl: 1615

Veröffentlichungsjahr: 2015

Beschreibung

A Companion to Roman Art encompasses various artistic genres, ancient contexts, and modern approaches for a comprehensive guide to Roman art. * Offers comprehensive and original essays on the study of Roman art * Contributions from distinguished scholars with unrivalled expertise covering a broad range of international approaches * Focuses on the socio-historical aspects of Roman art, covering several topics that have not been presented in any detail in English * Includes both close readings of individual art works and general discussions * Provides an overview of main aspects of the subject and an introduction to current debates in the field

Leseprobe

Table of Contents

Cover

Title Page

Notes on Contributors

List of Abbreviations

List of Illustrations

Introduction

Roman?

Art?

Companion?

Acknowledgments

REFERENCES

PART I: Methods and Approaches

CHAPTER 1: Defining Roman Art

The Discovery of Roman Art in the Late Nineteenth Century

Continuing Problems of Definition

Modern Difficulties in Approaching the Art of the Roman Period

Some Proposals for Redefining Roman Art for Modern Audiences

A New Model for Understanding Roman Art

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 2: Roman Historical Representations

History of Scholarship and Current Perspectives

Historical Memory and Political Practice

Historical Reality versus Political Ideology

History and Ritual

The Pictorial Language: Realism versus Allegory and Symbol

Rome and the Empire

Systems of Ideology

Visibility and Cultural Practice

Image, Reality, and Meaning

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 3: Methodological Approaches to the Dating and Identification of Roman Portraits

Researching Roman Portraits as a Scholarly Task

The First Step: Distinguishing Portraits of Emperors from Private Portraits

The Most Useful Aid in Identifying Portraits of Roman Emperors: Portraits on Coins

Different Portraits of One Emperor: The Discovery of Portrait Types

Emperor Portraits Are Not Unique Creations, But Copies of Official Portrait Types

The Creation and Use of Portrait Types

Identifying Emperors’ Portrait Types That Do Not Appear on Coins

Distinguishing Emperors’ Portrait Types from Private Portraits That Are Also Based on Portrait Types

Other Methods of Identifying Portraits of Emperors: Inscriptions, Archaeological Contexts, and Historical Reliefs

Dating Portrait Types of Emperors

Do Portrait Types of Emperors Always Carry a Specific Message?

Naming Portrait Types

Systematic, Gradual Modification of the Portrait Types of Young Emperors

How Can Copies of an Emperor’s Portrait Type Be Identified? Copy Review

Why Do Copies of One Portrait Type Often Differ So Much? The Methods of the Copying Workshops

Special Problems in Copy Review I: Emperors’ Portraits in the Provinces

Special Problems in Copy Review II: Reworked Portraits of Emperors

Special Problems in Copy Review III: Combination of Portrait Types (

Bildnis-Klitterungen

)

Dating Copies of Imperial Portrait Types

Why Do Some Private Portraits Bear Such a Resemblance to the Portraits of Emperors? Assimilated Portraiture (

Bildnisangleichung

) and Period Faces (

Zeitgesicht

)

Is It Always the Emperors Who Influence Their Citizens?

Did All Roman Citizens Want to Resemble the Emperors and Empresses in Their Portraits? The Phenomenon of Non-assimilation

Dating Private Portraits: Portrait Assimilation and Style

Other Possibilities for Dating Private Portraits: Bust Types and Plastic Rendering of the Eyes

Can Roman Portraits Be Dated Based on a General Stylistic Development?

Future Tasks

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 4: Roman Art and Gender Studies

Introduction

Gender as Women. Women into Gender

Gender and Sexuality

A Few Remarks on Representation

GUIDE TO FURTHER READING

REFERENCES

PART II: The Beginnings and End of Roman Art

CHAPTER 5: Republican Rome and Italic Art

Italy and Rome in the Republican Period (sixth to first centuries BCE)

Central Italy and Rome in the Sixth and Fifth centuries and the “Masters” of Veii

Arts and Crafts in Rome and Central Italy in the Fourth and Third Centuries

The Sack of Syracuse (212) and the Age of Conquest: Rome and Greece in the Second Century

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 6: Adapting Greek Art

Initial Encounters: Greeks and Romans in the Second Century BCE

From Republic to Principate: Greek Art in the New Imperial System

The Hadrianic–Antonine Era: Adapting Greek Art in the Roman Provinces

Conclusions

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 7: The Art of Late Antiquity

Art between Conservation and Change

Trends in the Visual

Habitus

and Transformations of

saeculum

Religious Life:

Paideia

and Transformations of

Habitus

Images on Command: Patterns of Authority and Rhetoric in Christian Imagery

Conclusion: Images in the New Centers of Power

GUIDE FOR FURTHER READING

REFERENCES

PART III: Producing and Commissioning Roman Art

CHAPTER 8: Technique and Message in Roman Art

Manifest Cost of Materials

Magical and Medicinal Properties

Geographical Associations: Origin and Empire

Approximating Other Media

Mimesis versus Metonymy

Historical Associations: Evoking Tradition

Contrasts in Fabric: Bichrome Statuary

Contrasts in Tooling: Chisel and Drill

Scope for Future Research

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 9: Roman Art and the Artist

A Crisis of Identity?

A Portrait of the Artist?

Logistics and Practicalities

What’s in a Name?

Conclusion: Fake-it

Fecit

s?

Acknowledgments

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 10: Roman Art and the State

The Republican Background

The Augustan Principate

Imperial Imagery under the Julio-Claudians

Continuity and Legacy

The Study of Antiquity Today

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 11: “Arte Plebea” and Non-elite Roman Art

Style and Roman Art

A History of Roman Art History

Arte Plebea

in Roman Art

Arte Plebea

and Trimalchio

Volkstümliche Kunst

and Painting

Future Directions

GUIDE TO FURTHER READING

REFERENCES

PART IV: Genres

CHAPTER 12: Roman Portraits

Roman Portraiture: Fear of Oblivion and Anonymity?

Roman Portraiture: Likeness or Manipulation?

Portrait Styles, Materials, and Chronology

Statuary Formats, Body Types, and Clothing: Social Markers, Role Models, or Fashion?

Portraits in Context

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 13: Wall Painting

Roman Painting: Up against the Wall

Scholarship on Roman Wall Painting

Hard Facts, Soft Skills, and the Spatial Framework

Outside In: The First Style

A World Beyond: The Second Style

Consolidating the Virtual in the Real: The Third Style

Immersion, Not Emulation: The Fourth Style

Roman Painting: Toward a Holistic Viewing

GUIDE FOR FURTHER READING

REFERENCES

CHAPTER 14: Mosaics

The Beginnings

Pavements in Roman Italy

Pavements in the Eastern Provinces

Pavements in Roman Africa

Pavements in the Northern and Western Provinces

Mosaics in Context

Wall and Vault Mosaics

Epilogue: What Next?

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 15: Roman Sarcophagi

Kinds of Interpretations

The Malleability of the Sarcophagus Genre

Forms of Visual Narrative

The Transformative Power of the Funerary Context

Images of “Belonging” and Metaphors of Society

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 16: Decorative Art

Tables

Puteals, Fountain Bowls, Decorative Fountains

Candelabra, Decorative Lamps

Decorative Vessels

Ornamental Reliefs, Masks, Oscilla

Ornamental Altars and Tripod Bases

Research Perspectives

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 17: Luxury Arts

The Evidence

Historiography

Artists

Iconography, Use, and Display

Hierarchies of Value

Gem Cutting

Intaglios and Cameos

Silver Plate

Statues of Precious Materials

Luxury Furniture

Amber

Jewelry

Gold Glass

Conclusions

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 18: Roman Architecture as Art?

Setting, Staging, Shaping Space

Mass and Volume

Material and Texture

Geometry and Design

Theater and Rhetoric

Mass and Volume

Epilogue

GUIDE TO FURTHER READING

REFERENCES

PART V: Contexts

CHAPTER 19: Roman Art and “Private Space”Art in Roman Town Houses

The House of Marcus Lucretius Fronto

The House of the Bound Animals, Thuburbo Maius, Tunisia

Conclusions

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 20: Art in the Roman Villa

Life in the Roman Villa: Literary Accounts

Art in the Roman Villa: Archaeological Evidence

Nature and Culture

GUIDE TO FURTHER READING

REFERENCES

CHAPTER 21: The Decoration of Private Space in the Later Roman Empire

A Field of Research Is Discovered

How Does Decoration Function in the Roman House?

Changing Perspectives: Discovering a New Perception of Space

Opportunities and Limitations: Increasing Decorative Splendor

The Discourse Grows More Complex: A New Thematic Spectrum in the Pictorial World

Decoration in the Late Imperial House: Some Perspectives for the Future

Acknowledgments