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This book, first published in 2004, develops a theoretical concept for understanding the Roman art of images.
Traditional studies of Roman art have sought to identify an indigenous style distinct from Greek art and in the process have neglected the large body of Roman work that creatively recycled Greek artworks. Now available in paperback, this fresh reassessment offers instead a cultural history of the functions of the visual arts, the messages that these images carried, and the values that they affirmed in late Republican Rome and the Empire. The analysis begins at the point at which the characteristic features of Roman art started to emerge, when the Romans were exposed to Hellenistic culture through their conquest of Greek lands in the third century B.C. As a result, the values and social and political structure of Roman society changed, as did the functions and character of the images it generated. This volume, presented in very clear and accessible language, offers new and fascinating insights into the evolution of the forms and meanings of Roman art. "Zanker, one of the foremost ancient Roman art historians, has produced an excellent general study of Roman art and its reception. . . . This book would be ideal for students at all levels interested in Roman art, history, and culture."—Choice
Analysis of the body language of statues of men and women as an indicator of gender relations in Roman society.
Examines the imperial mythology that was reflected by Roman art and architecture during the rule of Augustus Caesar
A History of Roman Art provides a wide-ranging survey of the subject from the founding of Rome to the rule of Rome's first Christian emperor, Constantine. Incorporating the most up-to-date information available on the topic, this new textbook explores the creation, use, and meaning of art in the Roman world. Extensively illustrated with 375 color photographs and line drawings Broadly defines Roman art to include the various cultures that contributed to the Roman system Focuses throughout on the overarching themes of Rome's cultural inclusiveness and art's important role in promoting Roman values Discusses a wide range of Roman painting, mosaic, sculpture, and decorative arts, as well as architecture and associated sculptures within the cultural contexts they were created and developed Offers helpful and instructive pedagogical features for students, such as timelines; key terms defined in margins; a glossary; sidebars with key lessons and explanatory material on artistic technique, stories, and ancient authors; textboxes on art and literature, art from the provinces, and important scholarly perspectives; and primary sources in translation A book companion website is available at with the following resources: PowerPoint slides, glossary, and timeline Steven Tuck is the 2014 recipient of the American Archaeological Association's Excellence in Undergraduate Teaching Award.
Acts of the Apostles is normally understood as a historical report of events of the early church and serves as the organizing centerpiece of the New Testament canon. In this book, Drew W. Billings demonstrates that Acts was written in conformity with broader representational trends and standards found on imperial monuments and in the epigraphic record of the early second century. Bringing an interdisciplinary approach to a text of critical importance, he compares the methods of representation in Acts with visual and verbal representations that were common during the reign of the Roman emperor Trajan (98-117 CE). Billings argues that Acts adopts the rhetoric of Roman imperialism as articulated in the images and texts from the period. His study bridges the fields of classics, art history, gender studies, Jewish studies, and New Testament studies in exploring how early Christian texts relate to wider patterns in the cultural production of the Roman Empire.
Ancient Rome as a Museum considers how cultural objects from the Roman Empire came to reflect, construct, and challenge Roman perceptions of power and identity. Rutledge argues that Roman cultural values are indicated in part by what sort of materials Romans deemed worthy of display and how they chose to display, view, and preserve them.
Laura Nasrallah argues that early Christian literature is best understood when read alongside the archaeological remains of Roman antiquity.
Conlin questions the long-held assumption that the friezes' sculptors were anonymous Greek masters, directly influenced by the reliefs carved on the Parthenon. Through close analysis of the sculptures, Conlin demonstrates that the carvers of the large processional friezes were actually Italian-trained sculptors influenced by both native and Hellenic stonecarving practices. Her conclusions rest on a systematic examination of the evidence left on the marble by the sculptors themselves - the traces of tool marks, the carving of specific details, and the compositional formulas of the friezes.
A comprehensive, authoritative account of the development Greek Art through the 1st millennium BC. An invaluable resource for scholars dealing with the art, material culture and history of the post-classical world Includes voices from such diverse fields as art history, classical studies, and archaeology and offers a diversity of views to the topic Features an innovative group of chapters dealing with the reception of Greek art from the Middle Ages to the present Includes chapters on Chronology and Topography, as well as Workshops and Technology Includes four major sections: Forms, Times and Places; Contacts and Colonies; Images and Meanings; Greek Art: Ancient to Antique
Napoleon I employed a myriad of media through which to promote his propaganda and his universal hegemony. Classical Rome - home to the great Caesars - was central to his ambitious visions for the transformation of Paris into an imperial metropolis of unprecedented magnitude. Exploring the interrelationship between antiquity, the display of power and the reinvention of Paris, this volume evaluates how the Roman world and post-antique exploitations of Rome influenced Napoleonic Paris, and how Napoleon promoted his authority by appropriating Rome's triumphal architecture and its associated symbolism to relocate 'Rome' in his own times. The volume shows how consideration of Louis XIV's legacy is crucial to understanding the evolution of Napoleon's fascination with imperial Rome. It also charts Napoleon's manipulation of the populist rhetoric of Republican France (and Rome) as he moved from being a general fighting for the Revolutionary cause to become the 'absolute' ruler of a new empire.
This book deals with the use of archaistic stylistic elements (i.e., those which revive or imitate features of Greek Archaic art) in free-standing statuary of the second century B.C. through third century A.C. Its analysis of sources imitated and investigation of motivations contribute to the study of retrospective styles in art.
The Italian Renaissance has traditionally been regarded as a critical turning point in the history of Europe, the vital stepping stone between the Age of Faith and the Age of Reason. This classical view of the Renaissance as the birth of individualism and modernity, as formulated by the famous Swiss historian Jacob Burckhardt, is challenged and reassessed in this intriguing and diverse group of essays. Leading scholars from different disciplines use a variety of approaches - textual and literary criticism, social anthropology, and gender studies - to re-evaluate the period as a whole. The book is divided into three sections, which discuss the model of death and rebirth and its political function; the social context of revival in terms of corporate and individual patronage; and the renaissance body as a political metaphor and social gesture. What emerges is an account of a mixed and lively culture which avoids the old generalizations and gives a fresh view of this most creative and fascinating period of European history.
Considering the relationship between artists and texts throughout classical antiquity, this study systematically applies new and objective criteria to judge the fidelity between picture and text. It becomes clear that artists illustrate stories, not texts, and Jocelyn Penny Small argues that artistic transmissions follow the model of oral, not textual, transmission where the variant rules and there is no original. Pictures on vases, she demonstrates, should not be used to reconstruct lost literary works.
Since the Renaissance, it has been generally accepted that almost all Roman sculptures depicting ideal figures were copies of Greek originals. This text traces the origin of this idea to the academic belief in the mythical perfection of now-lost Greek art.
Zumindest seit Theodor Mommsens klassischem Werk über die römische Geschichte gelten 'Krise und Untergang' der römischen Republik in jeder Hinsicht des vielzitierten Begriffs als ein 'weites Feld' - und heute findet gerade auf diesem zentralen Gebiet der Alten Geschichte eine internationale und interdisziplinäre Debatte statt, die über die traditionellen Kontroversen über Detailprobleme hinausgeht. Die Beiträge zu dem vorliegenden Band - die durchweg von Altertumswissenschaftlern verschiedener fachlicher Observanz und Ausrichtung stammen, die aber die Beteiligung an dieser Diskussion eint - bieten einerseits differenzierte Bilanzen des derzeitigen Standes dieser Diskussion: Dabei ging und geht es um Ursachen und Anlässe, um strukturelle Bedingungen und kontingente Impulse, um lang- und mittelfristige Prozesse und den Grad ihrer Selbstläufigkeit, um konkrete Brüche und Umbrüche - nicht zuletzt ist es die komplexe Interdependenz der Faktoren, die das erwähnte 'Feld' insgesamt ausmachen. Andererseits entwickeln die Beiträger daraus weiterführende Perspektiven, nehmen Anregungen systematisch auf und testen dabei zum Teil auch das Erklärungspotential bekannter oder neuer Modelle, Konzepte und Kategorien.
Published to accompany a traveling exhibition organized by the American Federation of Arts and the Musee du Louvre, this publication features an extraordinary selection of these works dating from the first century B.C. to the early fourth century A.D.-from the most famous to some with new significance resulting from new information. Themes such as religion, urbanism, war, imperial expansion, funerary practices, intellectual life, and family are vividly represented in mosaics, frescoes, bronze and terracotta statuettes, monumental sculptures, sarcophagi, reliefs, and glass and metal vessels. The catalogue also covers the careful procedures of cleaning and repair that took place during the collection's restoration. The resulting reincarnation of the Louvre's pieces transforms the contemporary view of early Roman public and private life, conveying a novel perspective and understanding of these ancient masterpieces. With comprehensive essays by a team of scholars on emperorship, citizenship, architecture, decorative arts, and religion, this title presents a complete picture of life in ancient Rome. AUTHOR: Daniel Roger and Cecile Giroire are curators in the Greek, Etruscan and Roman Antiquities Department of the Musee du Louvre. 185 colour plates
This collection of essays promises to make an important contribution to the field of Roman studies, particularly, by its concentration on monuments, to that of Roman art history. The current high level of interest in problems of identity, including studies of colonialism, Romanization, ethnicity, social class, gender and a host of related topics creates a vital intellectual context for the study of the art of provincials and the lower classes. The monuments themselves contribute a critical dimension to this discourse, the more so because the textual evidence for the non-elites of Roman society, apart from inscriptions, is relatively scarce.
This work offers a new interpretation of Roman decorative art, focusing on the function of decoration in the social context. It examines the three principal areas of social display in the Roman world - social space, entertainment and dress - and discusses the significance of the decoration of objects and interiors within these contexts.
In Family Fictions in Roman Art, Natalie Kampen reveals the profoundly de-naturalized ways in which family could be represented in the interests of political power during the Roman Empire. Her study examines a group of splendid objects made over the course of six hundred years, from carved gems to triumphal arches to ivory plaques, and asks how and why artists and their elite patrons chose to depict family to speak of everything from gender to the nature of rulership, from social rank to relationship itself. In the process, artists found new and often strikingly odd ways to give form to families from conquered lands and provinces as well as from the Italian countryside and the court. The book's contribution is in its combination of close attention to the creativity of Roman art and interest in the visual language of social and political relationships in a great Empire.

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