John R. Clarke: Art in the lives of ordinary Romans. Visual representation and non-elite viewers in Italy, 100 B.C.–A.D. 315

Neudecker, Richard

doi:10.17104/0017-1417_2006_8_716

Cited by 3 publications

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“…no. 81.AP.29;Parlasca 1969-2003Thompson 1982, 52-53 and 66, no. 9;Borg 1996, 15, 52-53, 87, 164 and 169;Walker et al (eds) 1997, no.…”

Section: Methods Of Datingmentioning

confidence: 99%

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The Young Lady in Pink. New Light on the Life and Afterlife of an Ancient Portrait

Daal¹,

Ruiter²

2022

saac

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A Roman-Egyptian mummy portrait of a young woman in a pink tunic is part of the Allard Pierson collection in Amsterdam. The portrait is well-known and a key piece of the collection, but has received little scholarly attention so far. The life and the afterlife of the portrait are therefore poorly understood. The authors approach the portrait from different perspectives: its provenance and acquisition, the artist’s materials and techniques, the dating conventions surrounding mummy portraits and their cultural context. The authors advocate for this in-depth multidisciplinary approach primarily because it spotlights specific areas in mummy portraits (in this case, the pearl earrings) where iconography, materials and techniques and ancient socio-economic developments converge. Provenance research proved important not only for securing the object’s bona fide acquisition, but also for tracing its second-life biography. These converging perspectives effectively cast light on research areas where more work remains desirable. In lieu of secure documentation of the archaeological findspot (which is the case with most mummy portraits) this approach is a powerful tool to nonetheless compose histories that help to understand the meaning of mummy portraits in the past and in the present and provide a durable framework for future research.

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“…no. 81.AP.29;Parlasca 1969-2003Thompson 1982, 52-53 and 66, no. 9;Borg 1996, 15, 52-53, 87, 164 and 169;Walker et al (eds) 1997, no.…”

Section: Methods Of Datingmentioning

confidence: 99%

“…no. 79.AP.129;Parlasca 1969-2003; Thompson 1982, 58-59, no. 12;Borg 1996, 47, 59, 87, 105, 168, 171, and 192, pl.…”

Section: Methods Of Datingmentioning

confidence: 99%

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The Young Lady in Pink. New Light on the Life and Afterlife of an Ancient Portrait

Daal¹,

Ruiter²

2022

saac

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“…Notable studies of Campanian painting include Frederik 2002 on the erotic gaze; Elsner 2007, 67-109 on parallels in ecphrasis and painting; Squire 2016; Platt and Squire 2017. A different approach has been taken by Clarke 1998Clarke , 2003Clarke , and 2007, who challenges the notion of a generic Roman Viewer constructed from fragmentary texts of elite male writers and considers a range of viewers, including slaves, freedmen, women, old, young, straight, and gay. The present essay focuses on one aspect of viewing in narrative scenes, namely the shifting viewpoints and levels of awareness of depicted figures.…”

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Seeing and Knowing in Roman Painting

Bergmann

2023

Ovid, Death and Transfiguration

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A seated male and a standing woman lock gazes (Fig. 8.1). The man, a cap over his unkempt hair and holding a traveler's staff across his lap, sits on a column drum in an open pose, his body turned toward the viewer. The woman, in contrast, stands upright, in profile, her left arm across her waist with a spindle and distaff in hand, while her right fingers rise to touch her chin. The couple's identities are clear from his scraggly appearance and pointed cap and from her characteristic gesture of thought. They are identifiable from the situation itself. Indeed, this is one of the most famous recognition scenes in ancient literature: Ulysses, disguised as a beggar, has returned to Ithaca after twenty years.Is Penelope puzzled, in doubt, or at this very second seeing her husband for who he really is? The static, protracted confrontation remains unresolved, leaving the viewer in suspense about both their states of mind. Tension is heightened by the presence of another viewer, a female peering over a wall, who mirrors our own observation of the couple. In this way, differing points of view and levels of awareness intersect, both within and without the picture. The emphasis on looking is not without irony, for it will be not be Ulysses' visual appearance, but his words that ultimately reveal his true identity. Resolution of the impasse requires a storyteller, and we are invited to supply, in the mind's eye, past and future events and even the verbal exchange between the two.The encounter of Ulysses and Penelope, a classic example of anagnorisis (recognition, discovery, disclosure), introduces the topic of this essay: how seeing and knowing are depicted in Roman mythological painting. In Homer's epic, Ulysses' homecoming occurs gradually, as a series of revelations of his true identity through the senses, primarily through vision, but also touch (the scar) and scent (Argos), as well as memory. The hero's successful return and physical survival depend upon the perceptions of others. The female onlooker in the fresco may well be Ulysses' nurse Eurycleia, who has earlier identified him by the scar on his leg, while this moment, the final recognition of husband by wife, will secure Ulysses' return to his former self. It was a popular scene in visual media and theater from the 6th century bce and appears in several Campanian frescoes of the 1st century ce, such as this panel in the Macellum

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“…54 Marvin, 1983, 380. 55 Manderscheid, 1981Marvin, 1983, 377-380;Neudecker, 1985. 56 Unfortunately, we lack records from Rome (cf.…”

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Horror and amazement: Colossal mythological statue groups and the new rhetoric of images in late second and early third century Rome

HOFF¹

2004

Paideia: The World of the Second Sophistic

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John R. Clarke: Art in the lives of ordinary Romans. Visual representation and non-elite viewers in Italy, 100 B.C.–A.D. 315

Abstract: John R. Clarke: Art in the lives of ordinary Romans. Visual representation and non-elite viewers in Italy, 100 B.C.–A.D. 315. Berkeley/Los Angeles/London: California UP 2003. XI, 383 S. 156 Abb. 24 Taf. 4°. (The Joan Palevsky imprint in classical literature.) 42,95 £.

Cited by 3 publications

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The Young Lady in Pink. New Light on the Life and Afterlife of an Ancient Portrait

The Young Lady in Pink. New Light on the Life and Afterlife of an Ancient Portrait

Seeing and Knowing in Roman Painting

Horror and amazement: Colossal mythological statue groups and the new rhetoric of images in late second and early third century Rome

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