By Barbara E. Borg
A better half to Roman Art encompasses a variety of creative genres, old contexts, and glossy methods for a finished consultant to Roman art.
• Offers finished and unique essays at the learn of Roman art
• Contributions from individual students with unrivalled services protecting a extensive diversity of foreign approaches
• Focuses at the socio-historical elements of Roman paintings, masking a number of subject matters that experience no longer been provided in any aspect in English
• Includes either shut readings of person artwork works and basic discussions
• Provides an summary of major features of the topic and an advent to present debates within the field
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Extra info for A Companion to Roman Art
In the last 20 years it is fair to say that there has been a real surge in the number of studies in art history that have adopted this term—as far as I can tell, largely for the reasons just mentioned. And whether or not one accepts this general position, the designation “visual culture” seems ideally suited to help scholars of ancient art with the special problems presented by the Roman period. Now, it may be that in time the term will also generate difficulties of its own (problems of definition in particular), but let me start by listing some of its obvious advantages.
Yet due to their more limited word count, by comparison to this volume, they necessarily remain at the surface of the wide range of questions and subjects that they typically include, or follow a very individual approach, thus neglecting different ways of thinking about the material in question and different methodologies. While it is obviously impossible ever to be fully comprehensive, there are advantages in having the opportunity to present the subject on 671 pages rather than 200 pages or less.
2) were also popular. 20). 1)). In the interest of space, however, I shall concentrate my attention exclusively on another category of artwork beloved of Roman collectors: old master panel paintings. The orator Hortensius reportedly paid 144,000 sesterces for a painting of the Argonauts by Kydias, a Greek painter of the fourth century BCE, and built an elaborate pavilion for it in his Tusculan villa. 130). 26). Julius Caesar was also a keen collector: Suetonius informs us that he collected not only paintings, but also engraved gems, metalwork, and statues as well—all of antique workmanship (Suetonius, Iulius Caesar 47).