Roman Painting. Roger Ling

1993 ◽  
Vol 88 (3) ◽  
pp. 254-258
Author(s):  
Bettina Bergmann
Keyword(s):  
Roman Painting

Greek and Roman Painting and the Digital Humanities

2021 ◽  
Author(s):  
Marie-Claire Beaulieu ◽  
Valérie Toillon
Keyword(s):  
Digital Humanities ◽  
Roman Painting

Anonymous Renovators of Icons

2018 ◽  
pp. 153-191
Author(s):  
Karin Vélez
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Case Studies ◽  
Public Image ◽  
The World ◽  
Roman Painting

This chapter begins by examining how two peripheral artworks of the Virgin of Loreto, the eighteenth-century wooden statue from the Moxos missions and the seventeenth-century Roman painting by Caravaggio, each tapped into outside streams of Marian art. The same impetus for transformation is observed for the original icon of the Madonna of Loreto at the Italian shrine. Updates to this icon were spurred by an awareness of the world outside Loreto. The chapter concludes with a return to the frontier, to Canada, to consider some significantly named but lesser known Huron women converts who contributed to Mary's global public image. Overall, these case studies of modifications to the Virgin of Loreto reflect what mattered to people on both sides of the Atlantic about Mary at this time: she was alien, yet she was accessible; she moved, and she could also be moved.

Late Roman Painting

1972 ◽  
Vol 76 (3) ◽  
pp. 347
Author(s):  
D. J. Smith ◽  
Wladimiro Dorigo ◽  
James Cleugh ◽  
John Warrington
Keyword(s):  
Roman Painting ◽  
Late Roman

Towards a cultural biography of Roman painting

2019 ◽  
Vol 32 ◽  
pp. 129-147
Author(s):  
Irene Bragantini
Keyword(s):  
Complex Nature ◽  
Domestic Ideology ◽  
Linear Path ◽  
Know How ◽  
Cultural Biography ◽  
Figurative Painting ◽  
Wide Range ◽  
Roman Painting ◽  
Continuous Stream ◽  
Domestic Setting

Using a term drawn from economic anthropology1 and pushing the boundaries of this type of analysis, I would like to describe an attempt to trace in time and space the roots of the technical, stylistic and iconographic know-how that gave form to Roman painting. Considering the fragmentary nature of the evidence at our disposal, the argumentation set forth here cannot follow a linear path containing various steps that can all be neatly demonstrated. I believe that the time is right, however, to tackle Roman painting — and particularly painting in the domestic setting — with more conviction. Although understanding the rôle and nature of the patrons and painters remains an objective that is still far off, it is probably worth investigating the traditions that enjoyed some level of continuity in Roman painting and the concrete ways and contexts in which the process unfolded. The aim is to achieve a deeper understanding of the rôle that this artistic technique played in a society that made ample use of it during a fundamental phase of its history. In the 1st c. B.C. and 1st c. A.D., in the brief period that saw the transition from Republic to Empire, the domestic ideology of Roman society found expression in a decorative system marked by a continuous stream of innovations with respect to themes, schemes and ornament that were adopted consistently by a broad spectrum of patrons. Indeed, beyond simply protecting and covering the walls of dwellings, figurative painting — especially of such a complex nature as we are dealing with here — added a wide range of elements which I believe it is useful to investigate.

Roman Painting

1992 ◽  
Vol 85 (6) ◽  
pp. 724 ◽  
Author(s):  
Elizabeth Bartman ◽  
Roger Ling
Keyword(s):  
Roman Painting

Roman painting

1991 ◽  
Vol 29 (02) ◽  
pp. 29-0724-29-0724
Keyword(s):  
Roman Painting

Portable in practice: investigations using portable instrumentation for materials analysis and mapping of decorated architectural surfaces in the tablinum of the House of the Bicentenary at Herculaneum

MRS Advances ◽  
2017 ◽  
Vol 2 (33-34) ◽  
pp. 1831-1848
Author(s):  
Kiernan Graves ◽  
David Carson ◽  
Ilaria Catapano ◽  
Giacomo Chiari ◽  
Gianluca Gennarelli ◽  
...  
Keyword(s):  
Archaeological Sites ◽  
Portable Instrumentation ◽  
Collaborative Project ◽  
Wide Range ◽  
Roman Painting ◽  
Severe Deterioration ◽  
Practical Implications ◽  
Multi Disciplinary Team

ABSTRACTThe conservation of the architectural surfaces in the tablinum of the House of the Bicentenary at the ancient Roman site of Herculaneum is a collaborative project of the Getty Conservation Institute, the Herculaneum Conservation Project and the Soprintendenza Pompeii. The tablinum was selected as a case study given the significance, beauty, and severe deterioration of its decorated surfaces. A multi-disciplinary team with a wide range of expertise, comprised of conservators, chemists, geo-physicists, engineers, and conservation scientists, worked in partnership across a number of institutions with the objective to study the wall paintings in the tablinum. Scientists and conservators worked together to test the feasibility of portable techniques and in situ investigations to better understand Roman painting technology; identify previous restoration materials; determine the presence of alteration products; and characterize deterioration mechanisms commonly found on architectural surfaces at archaeological sites of the Vesuvian Region. The collection and interpretation of the instrumental data has been critical to the design and implementation of appropriate passive and remedial interventions to stabilize the architectural surfaces and mitigate deterioration. The paper will present the results of the investigations using portable instrumentation along with a discussion of the capabilities and limitations of each technique and the practical implications of their use for architectural surfaces on archaeological sites.

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