Art And Archaeology Of Ancient Rome

Classical archaeology was long equated to ancient art history. Today these fields find themselves at a major crossroads. The influence on them-from the discipline of anthropology-has increased substantially in the past 15 years, adding to the ways in which scholars can study the Roman past. The classical archaeologist of the 21st century is likely to be versed in Greek and Latin, computer technology, ancient history, great monuments, various hard sciences such as physics or even astronomy, GPS, GIS, surveying, mapping, digitizing, artistic rendering, numismatics, geo-science, astronomy, environmental studies, material culture analysis and/or a host of other disciplines and sub-disciplines.Universities are seeking specialists whose talents embrace not one but several different fields of research. It is not necessary for each scholar to know everything about each discipline being used within the fields of art history, classical archaeology and anthropology, but these days a basic knowledge of all relevant disciplines is becoming indispensable. This book will layout the basic information and steps necessary to take the beginning archaeologist's search for knowledge of the past and lead them to adventures of the future. here have been numerous textbooks about the art history and monuments of ancient Rome. With this new work, the authors have attempted to create something slightly different. Students of the subject will still be able to gain the essential basic knowledge of the most important works of art and architecture that have been the focus of university art history courses for more than a century and remain the essential starting point for gaining a window into Roman Antiquity. In addition to this, however, anthropology, classical studies, social history and computer graphics have been used throughout this text in order to help the beginning student understand the daily life of the ancient Romans. The authors have sought to emphasize not only the greatest works of ancient art but have also included utilitarian objects which were more typical of the Roman life experience. It is hoped that this holistic approach can afford an appreciation not only of that estimated one-sixth that formed the Roman elite but also the remaining five-sixths who formed the majority of the Roman people. New technologies are being developed each year allowing increased possibilities for understanding the past. These range from innovations in museology as exemplified by the ruin within a museum approach of Rome's Capitoline Museums to the virtualreality 3D walk-throughs that allow the general public to experience the past first-hand by passing through museums or even reconstructed ancient buildings and sites. If a picture is worth a thousand words, the 21st century is showing that there is a growing desire to offer detailed and intimate snapshots that allow the past to resonate and reveal itself in ways not thought possible a generation ago. In this textbook the authors present more than 400 images, including over 100 new plans and specially commissioned reconstructions.

Classical archaeology was long equated to ancient art history. Today these fields find themselves at a major crossroads. The influence on them--from the discipline of anthropology--has increased substantially in the past 15 years, adding to the ways in which scholars can study the Roman past. The classical archaeologist of the 21st century is likely to be versed in Greek and Latin, computer technology, ancient history, great monuments, various hard sciences such as physics or even astronomy, GPS, GIS, surveying, mapping, digitizing, artistic rendering, numismatics, geo-science, astronomy, environmental studies, material culture analysis and/or a host of other disciplines and sub-disciplines.Universities are seeking specialists whose talents embrace not one but several different fields of research. It is not necessary for each scholar to know everything about each discipline being used within the fields of art history, classical archaeology and anthropology, but these days a basic knowledge of all relevant disciplines is becoming indispensable. This book will layout the basic information and steps necessary to take the beginning archaeologist's search for knowledge of the past and lead them to adventures of the future.

"This book will layout the basic information and steps necessary to take the beginning archaeologist's search for knowledge of the past and lead them to adventures of the future."--

Classical archaeology was long equated to ancient art history. Today these fields find themselves at a major crossroads. The influence on them--from the discipline of anthropology--has increased substantially in the past 15 years, adding to the ways in which scholars can study the Roman past. The classical archaeologist of the 21st century is likely to be versed in Greek and Latin, computer technology, ancient history, great monuments, various hard sciences such as physics or even astronomy, GPS, GIS, surveying, mapping, digitizing, artistic rendering, numismatics, geo-science, astronomy, environmental studies, material culture analysis and/or a host of other disciplines and sub-disciplines.Universities are seeking specialists whose talents embrace not one but several different fields of research. It is not necessary for each scholar to know everything about each discipline being used within the fields of art history, classical archaeology and anthropology, but these days a basic knowledge of all relevant disciplines is becoming indispensable. This book will layout the basic information and steps necessary to take the beginning archaeologist's search for knowledge of the past and lead them to adventures of the future.

Mark D. Fullerton blends the art of the Roman period with its history of political intrigue, military and religious ideologies, and intercultural interaction. The book not only explores the art of Rome itself but also that of the Roman provinces, including Syria, Egypt, Algeria, Greece and the British Isles, showing how Roman art drew from and influenced the wider ancient world.Each of the book's four parts opens with a timeline and historical overview, allowing the reader to better understand how the art relates to the political and social lives of the people of ancient Rome. Individual chapters begin with a map of Rome, illustrating how the city changed over centuries of rebuilding and reimagining.With an introduction, 'What Is Roman about Roman Art?', and 'Materials and Techniques' features on the artistic innovations introduced by the Romans, such as concrete, linear and atmospheric perspective, and mosaic, the book explores how Roman influences still affect the art and architectural world today.

This new survey makes sense of Roman art by placing works in their full historical context--showing students not only how but also why art was used in Roman society and politics (such as wealthy Romans sponsoring public projects to promote themselves). The book breaks new ground by devoting chapters to art from the provinces, rather than focusing solely on Rome itself. Mark Fullerton provides the most in-depth look at Roman art from across the empire, connecting Roman art to the Mediterranean and the wider world.

The Roman Empire had a rich and multifaceted visual culture, which was often variegated due to the sprawling geography of its provinces. In this remarkable work of scholarship, a group of international scholars has come together to find alternative ways to discuss the nature and development of the art and archaeology of the Roman provinces. The result is a collection of nineteen compelling essays—accompanied by carefully curated visual documentation, seven detailed maps, and an extensive bibliography—organized around the four major themes of provincial contexts, tradition and innovation, networks and movements, and local accents in an imperial context. Easy assumptions about provincial dependence on metropolitian models give way to more complicated stories. Similarities and divergences in local and regional responses to Rome appear, but not always in predictable places and in far from predictable patterns. The authors dismiss entrenched barriers between art and archaeology, center and provinces, even “good art” and “bad art,” extending their observations well beyond the empire’s boundaries, and examining phenomena, sites, and monuments not often found in books about Roman art history or archaeology. The book thus functions to encourage continued critical engagement with how scholars study the material past of the Roman Empire and, indeed, of imperial systems in general.