<i>Damnatio Memoriae</i> in Stone: Two Portraits of Nero Recut           to Vespasian in American Museums

Pollini, John

doi:10.2307/504743

Cited by 47 publications

(9 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…13), an intriguing feature that suggests he was once active, toned and muscular but has now given himself over to a life of 'otium cum dignitate'. 86 On the transformative imagery of Vespasianic portraits, see Pollini (1984); more recently, see Varner (2004), especially chapters 5 and 6. 77 There are many examples, too, of female portraits from the Republic and early Principate, but particularly the second century AD, where the fat neck, a 75 For a good overview of the relationship between sculpture and coin portraits, see Toynbee (1978).…”

Section: Portraitsmentioning

confidence: 99%

See 1 more Smart Citation

Obesity, Corpulence and Emaciation in Roman Art

Bradley¹

2011

Pap. Br. Sch. Rome

View full text Add to dashboard Cite

This article explores the significance of sculptural and painted representations of 'overweight' and 'underweight' body types in the visual culture of Roman Italy from the fourth century BC through to the late Empire, and considers the relationship of this imagery to Greek and Hellenistic precedents. In spite of the topical character of fat in 21st-century sociology, anthropology and medical science, obesity and emaciation in the ancient world remain almost completely unexplored. This article sets out to examine the relationship of fat and thin bodies to power, wealth, character and behaviour, and seeks to identify patterns and continuities in the iconography of fleshiness and slenderness across a stretch of several hundred years. Such bodies could be evaluated in a number of different ways, and this article exposes the diverseand sometimes contradictoryresponses to body fat in the art and culture of the Roman world. It first examines the significance of obesity and emaciation in language, literature and medicine, and then discusses visual representations under three headings: 'Fertility'; 'The marginal and the ridiculous', examining the relationship between body fat, humour and figures at the edge of civilized society; and 'Portraits', exploring fat and thin in the portraiture of real-life individuals in the realms of philosophy, Hellenistic rulership, Etruscan funerary art and Roman public sculpture.L'articolo esplora il significato delle rappresentazioni scultoree e pittoriche dei tipi di corpi 'sovrappeso' e 'sottopeso' nella cultura figurative dell'Italia romana dal IV secolo a.C. fino al Tardo Impero e considera la relazione di questo immaginario con i precedenti greci ed ellenistici. A differenza del carattere topico del grasso nella sociologia, antropologia e scienza medica del XXI secolo, l'obesità e la magrezza nel mondo antico rimangono argomenti quasi del tutto inesplorati. L'articolo si propone di esaminare il rapporto del corpo grasso e magro con il potere, la ricchezza, il carattere e il comportamento, e cerca di identificare i modelli e le continuità nell'iconografia della grassezza e della magrezza attraverso un arco cronologico di vari centinaia di anni. Simili corpi potrebbero essere valutati attraverso varie strade e questo articolo espone le diversee a volte contradditorierisposte al corpo grasso nell'arte e nella cultura del mondo romano. Prima si esamina il significato dell'obesità e magrezza nel linguaggio, letteratura e medicina, e poi si discuta le rappresentazioni visuali sotto tre aspetti: 'la fertilità'; 'il marginale e il ridicolo', esaminando la 1 This article represents one small part of a long-term project on foul bodies in the history, literature and art of ancient Rome. I owe a large debt of thanks to many individuals for suggesting approaches to this topic, identifying appropriate material and shaping my arguments: ; the Editor and two anonymous readers of Papers of the British School at Rome; audiences at Cambridge and Nottingham; as well as all the perceptive comments on my p...

show abstract

Section: Portraitsmentioning

confidence: 99%

“… 86 On the transformative imagery of Vespasianic portraits, see Pollini (1984); more recently, see Varner (2004), especially chapters 5 and 6.…”

mentioning

confidence: 99%

Obesity, Corpulence and Emaciation in Roman Art

Bradley¹

2011

Pap. Br. Sch. Rome

View full text Add to dashboard Cite

show abstract

“…49.Ibid. 50.This generally applies to the later emperors Vespasian, Titus and Domitian: Pollini 1984; Varner 2004, 52-65. …”

mentioning

confidence: 95%

A case of mistaken identity? Laser-scanning the bronze “Claudius” from near Saxmundham

Russell

Manley

2013

J. Roman archaeol.

View full text Add to dashboard Cite

The lifesize bronze head of a male ( fig. 1) in the Weston Gallery of the British Museum is one of the most iconic artefacts of Roman Britain. Widely interpreted as a portrait of the emperor Claudius forcibly removed from a statue in or near the temple of Claudius at Colchester by British insurgents during the Boudiccan Revolt of A.D. 60/61, it has never been reported upon in detail, 1 and there has recently been some dispute as to both its identity and its significance. 2 In an attempt to produce an accurate record of the head whilst simultaneously addressing issues surrounding its identity, the nature of its decapitation and subsequent disposal, the artefact was subjected to a three-dimensional laser scan, the results of which are discussed here.

show abstract

“…Given the evidence already noted from the 1782 watercolour sketch by Grimm, Rouse's lithograph of 1824 and the description of the head provided by Dally in 1831, this pattern of erosion most probably occurred while the portrait was exposed to the elements in the vicarage and episcopal gardens of Bosham and Chichester. Pollini 1984;Stewart 2003, 261-99;Varner 2000;2004;Russell and Manley 2013a.…”

Section: Descriptionmentioning

confidence: 99%

Trajan Places: Establishing Identity and Context for the Bosham and Hawkshaw Heads

Russell

Manley

2015

Britannia

View full text Add to dashboard Cite

Two damaged, weathered marble portraits, both discovered in the 1780s at opposite ends of Roman Britain, one at Bosham in West Sussex, the other at Hawkshaw in Peeblesshire, are here re-examined and identified as portraits of the emperor Trajan. The Bosham head is interpreted as a post-mortem image of the deified Trajan set up at the margins of Chichester Harbour, probably during the visit to Britain by the emperor Hadrian in the early a.d. 120s. The Hawkshaw portrait of Trajan appears to have been refashioned from a likeness of Domitian and may originally have been part of a monument created to celebrate and commemorate the total conquest of Britain, in the early a.d. 80s, which was decapitated and buried during a period of unrest on the northern frontier.

show abstract

Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in American Museums

Cited by 47 publications

References 0 publications

Obesity, Corpulence and Emaciation in Roman Art

Obesity, Corpulence and Emaciation in Roman Art

A case of mistaken identity? Laser-scanning the bronze “Claudius” from near Saxmundham

Trajan Places: Establishing Identity and Context for the Bosham and Hawkshaw Heads

Contact Info

Product

Resources

About