Figurative Elements in Mosaics and Roman Painting at Algarve (Portugal)

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.

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Roman Painting - Roger Ling: Roman Painting. Pp. xvi+245; 236 illustrations, 16 colour plates, 2 maps. Cambridge: Cambridge University Press, 1991. £45 (Paper, £17.50).

The Classical Review ◽

10.1017/s0009840x00291099 ◽

1994 ◽

Vol 44 (1) ◽

pp. 165-167

Author(s):

Malcolm A. R. Colledge

Keyword(s):

Cambridge University ◽

Roman Painting

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Late Roman Painting

American Journal of Archaeology ◽

10.2307/503954 ◽

1972 ◽

Vol 76 (3) ◽

pp. 347

Author(s):

D. J. Smith ◽

Wladimiro Dorigo ◽

James Cleugh ◽

John Warrington

Keyword(s):

Roman Painting ◽

Late Roman

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Roman Painting. Roger Ling

Classical Philology ◽

10.1086/367367 ◽

1993 ◽

Vol 88 (3) ◽

pp. 254-258

Author(s):

Bettina Bergmann

Keyword(s):

Roman Painting

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Of sponges and stones: Matter and ornament in Roman painting

Ornament and Figure in Graeco-Roman Art ◽

10.1515/9783110469578-011 ◽

2018 ◽

pp. 241-278 ◽

Cited By ~ 1

Keyword(s):

Roman Painting

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Towards a cultural biography of Roman painting

Journal of Roman Archaeology ◽

10.1017/s1047759419000084 ◽

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.

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