Download e-book for kindle: A Companion to Roman Art by Barbara E. Borg

By Barbara E. Borg

ISBN-10: 1118886046

ISBN-13: 9781118886045

ISBN-10: 1118886097

ISBN-13: 9781118886090

ISBN-10: 1119077893

ISBN-13: 9781119077893

ISBN-10: 1405192887

ISBN-13: 9781405192880

A better half to Roman Art encompasses a number of creative genres, old contexts, and glossy ways for a complete advisor to Roman art.

• Offers complete and unique essays at the research of Roman art

• Contributions from amazing students with unrivalled services masking a extensive diversity of overseas approaches

• Focuses at the socio-historical facets of Roman artwork, overlaying a number of themes that experience now not been awarded in any aspect in English

• Includes either shut readings of person artwork works and common discussions

• Provides an outline of major facets of the topic and an creation to present debates within the field

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What we call “Roman art” was not “art” as far as Romans were concerned Having established what Romans generally thought of as “art,” we are now faced with an ­interesting paradox. Our books of Roman art contain almost exclusively works that, from the Roman point of view, were not art. 5): Nam saepe ego audivi Q. Maxumum, P. Scipionem, praeterea civitatis nostrae praeclaros viros solitos ita dicere, cum maiorum imagines intuerentur, vehementissume sibi animum ad virtutem accendi. I have often heard that Fabius Maximus and Scipio Africanus, and other illustrious men of our state, used to say that when they gazed upon the portrait masks (imagines) of their ancestors, their hearts were fired with an ardent aspiration to virtus.

2 “Campana plaque” with portico showing a statue of Mercury in the center. Boston, Museum of Fine Arts, Francis Barlett Donation of 1900, inv. 885. Photo: © 2014 Museum of Fine Arts, Boston. 18 Christopher H. Hallett f­urnishings of this sort, were not highly valued. The best of them were clearly very expensive, and there was certainly no stigma attached to “copies” in Roman culture. 125–126). 47). , Tomei 1997, nos. 102, 120). The best of these show that in terms of sculptural technique these “Roman copies” far surpass anything that was made in marble in the fifth century BCE.

A conventional, though mostly non‐reflective, hierarchy uses “art” as a term mostly for relatively large‐scale objects without a practical function, while the “minor arts” comprise sophisticated products, often of smaller scale, with practical function such as coins, silver plates, gems, or jewelry; “decorative art” usually designates mainly repetitive ornaments or allegedly meaningless but beautiful embellishments of practical objects such as furniture or architecture; and the crafts, which are ultimately impossible to differentiate from “art,” tend to be characterized by mass production, limited technical skills, less precious ­materials, less satisfactory aesthetic qualities, or a combination of these.

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A Companion to Roman Art by Barbara E. Borg


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