A companion to Roman art PDF
Preview A companion to Roman art
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 Fecits? 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 GUIDE TO FURTHER READING REFERENCES CHAPTER 22: Roman Art and DeathThe Decoration of Roman Tombs Anything but Merely Sepulchral Long Underestimated: Impacts of the History of Scholarship The Hidden Locations of Immovable Tomb Decoration Chronology, Themes, Trends, and Preferences Tomb Decoration in Metropolitan Rome Purely Sepulchral Symbols? The Social Status of Tomb Patrons What Is New? Tomb Decoration Revisited GUIDE TO FURTHER READING REFERENCES CHAPTER 23: Catacombs and the Beginnings of Christian Tomb Decoration The Research so Far Characteristics of the Catacombs The Emergence of New Tomb Architecture The Development of Christian Tomb Painting Establishment during the “Little Peace” of the Church Imperial Support after Constantine Apex in the Mid-Fourth Century Final Flowering under Damasus Open Questions GUIDE TO FURTHER READING REFERENCES CHAPTER 24: The Greek East under Rome Introduction: Cities Realm of the Emperor Realm of the Gods Realm of the Citizen Realm of the Dead Conclusions GUIDE TO FURTHER READING REFERENCES CHAPTER 25: The Western Roman Provinces The African Provinces The Spanish Provinces Gaul and Germany Britain GUIDE TO FURTHER READING REFERENCES PART VI: Themes CHAPTER 26: Contextualizing Roman Art and Nature Roman Gardens Roman Paintings of Gardens and Landscapes The Experience of Real and Virtual Gardens Gardens as Art Galleries GUIDE TO FURTHER READING REFERENCES CHAPTER 27: Roman Art and Spectacle Theatrical Spectacles from Pompeii to Antioch The Sporting Heroes of Italy: Gladiators, Athletes, and Charioteers Commemorating the Games: Private Passions and Public Munificence Civic Culture: Images of the Games in Public Art Memorializing the Dead: Celebrations of Individual Performers Conclusions Acknowledgments GUIDE TO FURTHER READING REFERENCES CHAPTER 28: Roman Art and Myth Mythological Images, Attention, and Social Practices Bodies and Emotions Fantasy and Reality Function, Context, and Decorum The Plasticity of Myth
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