A History of Roman Art

A History of Roman Art

Language: English

Pages: 408

ISBN: 1444330268

Format: PDF / Kindle (mobi) / ePub

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 www.wiley.com/go/romanart 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.

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original composition, however. The blank space to the right was originally filled with the image of Geta, removed after his death on orders of Caracalla. This so-called damnatio memoriae, condemnation of the memory, is an interesting example in privately commissioned rather than official art since it shows that Caracalla’s order was followed in private art as well. The result makes the panel appear asymmetrical. In fact all three of the figures were essentially frontal images that engage the

chiseled to a smooth finish, is an element seen in the Porta Maggiore gateway of Rome built by the emperor Claudius in 52 CE (Figure 6.17) and conveys volume and solidity. The four-story semi-circular towers with engaged half columns and sculpted capitals give the imposing structure both a sense of volume as well as decoration that projects the identities of security and Roman culture to all who view it in this far northern province. The gate was probably always intended as much as a display of

the house, is flanked by a pair of rooms and faces a pool or basin of water (Figure 4.18 Plan of the House of the Faun). This Archaic complex may be the ultimate origin of that core of the Roman domestic space. Like the buildings of the earlier complex, this structure was also elaborately decorated with terracotta acroterion sculpture in the round that sat along the pitch of the roof. In addition, frieze plaques were nailed to exposed wooden beams, protecting them from the elements. Terracotta

walking profiles and wear garments that flare out around them in flat folds, a standard characteristic of Archaic art. That was not the only Archaic-inspired element in the sanctuary decoration. The interior of the portico was lined with a large number of very old-fashioned terracotta plaques of the type that protected the wooden components of Archaic temples from the elements. Reliefs molded in the style of Archaic (sixth century BCE) Athenian art covered these, including one showing a Greek

Covers artistic technique, materials, and so forth. Examples include cameo glass technique, use of concrete, artistic workshops. More on Myth. Provides a quick introduction to a myth central to the art, e.g. Serapis, Seven against Thebes. Ancients on Art. These quotations allow readers to engage, in translation, ancient testimony about this material. Form & Function. Examines an aspect of Roman life in relation to some of the art or architectural pieces described, e.g. analysis of

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