Roman Art In The Private Sphere

"This is a stimulating book and should be compulsory reading for all students of Roman art." ---Classical Review "For all the authors, attention to the ensemble, a sense of the relation between the formal and the iconographic, and the desire to historicize their material contribute to making this anthology unusual in its rigorous and creative attention to the way that art and architecture participate in the construction of the image of the Roman elite." ---Art Bulletin Roman Art in the Private Sphere presents an impressive case for the social and art historical importance of the paintings, mosaics, and sculptures that filled the private houses of the Roman elite. The six essays in this volume range from the first century B.C.E. to the fourth century C.E., and from the Italian peninsula to the Eastern Empire and North African provinces. The essays treat works of art that belonged to every major Roman housing type: the single-family atrium houses and the insula apartment blocks in Italian cities, the dramatically sited villas of the Campanian coast and countryside, and the palatial mansions of late antique provincial aristocrats. In a complementary fashion the essays consider domestic art in relation to questions of decorum, status, wealth, social privilege, and obligation. Patrons emerge as actively interested in the character of their surroundings; artists appear as responsive to the desire of their patrons. The evidence in private art of homosexual conduct in high society is also set forth. Originality of subject matter, sophisticated appreciation of stylistic and compositional nuance, and philosophical perceptions of the relationship of humanity and nature are among the themes that the essays explore. Together they demonstrate that Roman domestic art must be viewed on its own terms. Elaine K. Gazda is Professor of the History of Art and Curator of Hellenistic and Roman Antiquities at the Kelsey Museum of Archaeology, University of Michigan.

Statues are among the most familiar remnants of classical art. Yet their prominence in ancient society is often ignored. In the Roman world statues were ubiquitous. Whether they were displayed as public honours or memorials, collected as works of art, dedicated to deities, venerated as gods, or violated as symbols of a defeated political regime, they were recognized individually and collectively as objects of enormous significance. By analysing ancient texts and images, Statues in Roman Society unravels the web of associations which surrounded Roman statues. Addressing all categories of statuary together for the first time, it illuminates them in ancient terms, explaining expectations of what statues were or ought to be and describing the Romans' uneasy relationship with 'the other population' in their midst.

A Companion to Roman Art encompasses various artistic genres, ancient contexts, and modern approaches for a comprehensive guide to Roman art. Offers comprehensive and original essays on the study of Roman art Contributions from distinguished scholars with unrivalled expertise covering a broad range of international approaches Focuses on the socio-historical aspects of Roman art, covering several topics that have not been presented in any detail in English Includes both close readings of individual art works and general discussions Provides an overview of main aspects of the subject and an introduction to current debates in the field

A HISTORY OF ROMAN ART The new edition of the leading textbook on Roman art, updated with new images and expanded geographic and cultural scope A History of Roman Art is an expansive survey of the painting, mosaic, sculpture, decorative arts, and architecture of ancient Rome. This acclaimed textbook provides a fully-illustrated narrative history of Roman art that spans a millennium, from the early origins of Rome to the era of Emperor Constantine. Interwoven throughout the text are themes of Rome's cultural inclusiveness and the importance of art in promoting Roman values, helping students understand how diverse cultures contributed to Roman life. Accessible, chronologically-organized chapters provide numerous examples of the arts, their cultural and historical context, descriptions of artistic techniques, and writings by ancient authors—enabling students to develop a rich appreciation of art’s importance in the Roman world. Now in its second edition, this market-leading textbook features thoroughly revised content throughout. Additional images and excerpts from literary sources are complemented by new historical discussions of metalwork, carved gems, glass, and sarcophagi. This edition features more maps and illustrations, in-depth analysis of iconography, greater emphasis on the types of objects used to decorate the lives of ordinary Romans, expanded coverage of freedmen and women as artists, subjects, and patrons, and much more. A number of works that represent popular art have been added. That is, art in the everyday Roman world, rather than just the large scale works of sculpture and architecture of elite patrons. It also reveals patterns of artistic workshops, trade, and social and economic networks. Additionally, this edition takes into account new approaches in scholarship. This comprehensive textbook: Provides a thorough introduction to Roman art history featuring more than 400 high quality images and illustrations Includes a full set of pedagogical tools, such as historical timelines, key term definitions, and updated references and further reading suggestions Offers “Scholarly Perspective,” “A View from the Provinces,” “More on Myth,” and “Art and Literature” textboxes in each chapter Includes a companion website containing PowerPoint slides and additional instructor resources A History of Roman Art, Second Edition is an ideal primary or secondary text for courses on Roman art and archaeology, Roman art and architecture, Greek and Roman art, and general Roman civilization, history, and culture.

This handbook explores key aspects of art and architecture in ancient Greece and Rome. Drawing on the perspectives of scholars of various generations, nationalities, and backgrounds, it discusses Greek and Roman ideas about art and architecture, as expressed in both texts and images, along with the production of art and architecture in the Greek and Roman world.

In this study, Lauren Petersen critically investigates the notion of 'freedman art' in scholarship.

Richly illustrated and clearly written, Culture and Society at Lullingstone Roman Villa articulates a thoughtful and original approach to this remarkable site. It presents extensive scholarly research in an accessible manner and is recommended reading for academics and enthusiasts alike.

The hawari of Cairo - narrow non-straight alleyways - are the basic urban units that have formed the medieval city since its foundation back in 969 AD. Until early in the C20th, they made up the primary urban divisions of the city and were residential in nature. Contemporary hawari, by contrast, are increasingly dominated by commercial and industrial activity. This medieval urban maze of extremely short, broken, zigzag streets and dead ends are defensible territories, powerful institutions, and important social systems. While the hawari have been studied as an exemplar for urban structure of medieval Islamic urbanism, and as individual building typologies, this book is the first to examine in detail the socio-spatial practice of the architecture of home in the city. It investigates how people live, communicate and relate to each other within their houses or shared spaces of the alleys, and in doing so, to uncover several new socio-spatial dimensions and meanings in this architectural form. In an attempt to re-establish the link between architecture past and present, and to understand the changing social needs of communities, this book uncovers the notion of home as central to understand architecture in such a city with long history as Cairo. It firstly describes the historical development of the domestic spaces (indoor and outdoor), and provides an inclusive analysis of spaces of everyday activities in the hawari of old Cairo. It then broadens its analysis to other parts of the city, highlighting different customs and representations of home in the city at large. Cairo, in the context of this book, is represented as the most sophisticated urban centre in the Middle East with different and sometimes contrasting approaches to the architecture of home, as a practice and spatial system. In order to analyse the complexity and interconnectedness of the components and elements of the hawari as a 'collective home', it layers its narratives of architectural and social developments as a domestic environment over the past two hundred years, and in doing so, explores the in-depth social meaning and performance of spaces, both private and public.