Painting, Ethics, and Aesthetics in Rome

Jones, Nathaniel B.

doi:10.1017/9781108329514

Cited by 6 publications

(2 citation statements)

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“…3 Shana O'Connell has already argued that imitating the physical properties of objects and the appearance of visual effects on their surface "was the primary vehicle of vividness, or enargeia" in mural art, and that this-rather than linear perspective-should be recognised as a paradigm of pictorial illusion and three-dimensionality in ancient painting (O'Connell 2015, p. ii; see also Estrin 2015;Platt 2018;Jones 2019).…”

Section: Introductionmentioning

confidence: 99%

‘Eye-Like Radiance’: The Depiction of Gemstones in Roman Wall Painting

Allen

2019

Arts

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The study of ornament in Greek and Roman art has been the focus of increasing scholarly interest over the last decade, with many publications shedding new light on the dynamics of ornatus in antiquity, and the discourses that shaped and situated it. Through an analysis of the depiction of gemstones in Roman wall painting, this article demonstrates the importance of ornamental details both to the mechanics of two-dimensional representation and to the interpretation of the images they adorned. I argue that by evoking the material qualities and sensual pleasures of real precious stones, painted gems served on the one hand to enhance the illusory reality of wall painting, and on the other to extol the delights of luxury and refinement—that is, of ornamentation itself.

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Section: Introductionmentioning

confidence: 99%

‘Eye-Like Radiance’: The Depiction of Gemstones in Roman Wall Painting

Allen

2019

Arts

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“…The worlds of plants and deities merge even more clearly in other examples, where the dress of the central female figure is rendered as a leaf, hinting that the divine presence 37 These reliefs symbolically reframe traditional motifs but also literally add a frame, a feature likely connected to developments in contemporaneous artistic forms such as wall painting. For recent discussions of the frame in Roman wall painting, see Platt and Squire 2017, Platt 2017, Squire 2017, and Jones 2019. Hallett (2018 discusses evidence for the framing of older terracotta decoration during Augustan renovations in Rome.…”

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confidence: 99%

Down from the roof: reframing plants in Augustan art

Crawford-Brown

2022

J. Roman Archaeol.

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The Augustan marble “revolution” marked more than the substitution of one building material for another. It changed Rome's color, texture, and light, and visually redefined its sacred architecture. For centuries, temples in and around Rome had been decorated with brightly painted architectural terracottas, which typically featured a swirling array of plants and flowers. Terracotta was the material of sacred tradition, and the vegetal motifs employed on temples evoked a pious Italic past. The lush array of plant life present in Augustan art has not been adequately considered against this background. This paper explores the use of traditional plant motifs in Augustan art and architecture, with an emphasis on viewer response. It considers the so-called Campana reliefs before turning to a more detailed analysis of the Ara Pacis's vegetal panels. These, I argue, consciously evoked ancient temple decoration and drew it into the new visual language of the Augustan Principate.

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2019

The Class. Rev.

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Painting, Ethics, and Aesthetics in Rome

Cited by 6 publications

References 290 publications

‘Eye-Like Radiance’: The Depiction of Gemstones in Roman Wall Painting

‘Eye-Like Radiance’: The Depiction of Gemstones in Roman Wall Painting

Down from the roof: reframing plants in Augustan art

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