Roman Art, (Pelican History of Art)

1978 ◽  
Vol 60 (1) ◽  
pp. 159
Author(s):  
Richard Brilliant ◽  
Donald Strong ◽  
J. M. C. Toynbee
Keyword(s):  
Roman Art ◽  
History Of Art ◽  
History Of

The Origin of Verism in Roman Portraits

1955 ◽  
Vol 45 (1-2) ◽  
pp. 39-46 ◽  
Author(s):  
Gisela M. A. Richter
Keyword(s):  
Recent Theory ◽  
Roman Art ◽  
History Of Art ◽  
History Of ◽  
Physical Defects ◽  
The Creation ◽  
Greek Art ◽  
The Many

Was the verism of Roman Republican portraits due to Italic, Etruscan, Roman, Egyptian, or Greek influence? This question has been much discussed, especially of late. Of particular interest is the recent theory that late Egyptian portraits played a decisive part. In this article I want first to discuss the evidence for the various influences that have been considered potent in the creation of Roman verism, and then try from this evidence to deduce which factor, or which factors, were the most potent. I shall examine in particular the Egyptian and the Greek theories, for in these fields I may perhaps have something new to say, whereas the Italian side has been thoroughly explored.The question at issue is an important one; for, as Schweitzer has said, the birth of Republican Roman portraiture was as momentous a happening in the history of art as was the birth of individualistic representation in Greek art. The many different views that have been held regarding the origin testify to the complexity of the question. If a convincing solution could be obtained, it would clarify, I think, our whole understanding of that great phenomenon—the origin of Roman art.First I must define the word ‘verism’, which has only comparatively recently entered our archaeological vocabulary. Verism I take to mean a somewhat dry realism, a realism which shows the person portrayed as he really is, without idealizing tendencies, with wrinkles and warts and other physical defects, and also, what is more important, with an expression not of a philosopher or poet or visionary, but of what might be called a man of affairs.

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

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