Una pittura senza maestri: la produzione della pittura parietale romana

Bragantini, Irene

doi:10.1017/s1047759400008199

Cited by 9 publications

(13 citation statements)

References 4 publications

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“…In order to build the architectural model, we have added on the conceptual model structure details like roofs, columns, doors and windows, referring to the images and documents collected during the data acquisition task, and taking as an example the Roman villas dated at the Second Century AD [21,22] ( Figure 4). The archaeological reconstruction of the roof covering, of the wall paintings and of the furnishings as of the garden, are purely hypothetical because no traces of these archaeological data have been documented underwater.…”

Section: Architectural Modelmentioning

confidence: 99%

A digital reconstruction of the sunken “Villa con ingresso a protiro” in the underwater archaeological site of Baiae

Petriaggi

Bruno

et al. 2018

IOP Conf. Ser.: Mater. Sci. Eng.

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Abstract. The Underwater Cultural Heritage represents a key aspect of our historical memory still little known due to a number of limitations imposed by the underwater environment. The aim of this paper is to explore the use of digital three-dimensional reconstructions to support the research about this immeasurable archaeological and historical resource. The whole virtual reconstruction process is described step by step, focusing on the iterative feedback allowing for reaching the best virtual reconstruction solutions, helping the archaeologists to better focus their reasoning through a detailed visual representation, and the technical experts to avoid misleading details in the final virtual reconstruction.

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Section: Architectural Modelmentioning

confidence: 99%

A digital reconstruction of the sunken “Villa con ingresso a protiro” in the underwater archaeological site of Baiae

Petriaggi

Bruno

et al. 2018

IOP Conf. Ser.: Mater. Sci. Eng.

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“…This definition, which should be at the basis of every study aimed at investigating any aspect of Roman artistic production, is still debated and the scientific community is divided into two opposed groups: those claiming that painters' workshops were organized structures based on long-term collaborations between painters (De Vos 1981;Peters 1993;Moormann 1995;Sampaolo 1995;Varone 1995;Bragantini 2004;Esposito 2007Esposito , 2009, and those who disagree (Blanc 1983(Blanc , 1995Allison 1995).…”

Section: Workhops or Teams Of Painters?mentioning

confidence: 99%

Painters and workshops in Pompeii: identifying craftspeople to understand their working practices: Paper from the UWICAH Postgraduate Conference 2015

Bologna

2016

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Given the scarcity of documentary sources dealing with ancient craft production, when trying to understand the ancient decorating industry's organisation the close examination of paintings is essential to scholars. My attempt to investigate Pompeian painters' working practices rests on the identification of individual painters' hands, specifically those who painted the figurative elements of the wall decoration. In order to do so, I applied a Morellian-inspired method for attribution of authorship, based on the close study of forms and invariant relations between them. This method allows us to pinpoint peculiar geographical distributions or recurring patterns of collaboration between painters, thus determining where and how they worked. My analysis focuses on Third Style paintings in Pompeii (about 20 BC -AD 45) and so far it has led to the identification of five different groups of attributed works which appear to be loosely clustered in the city. This could either point to the existence of roughly defined working 'areas' associated with specific groups of painters or as evidence that said craftsmen worked on different buildings in the same area at about the same time, later moving to a different zone or town. I will present and discuss these two possibilities.When trying to investigate the organisation and working practices of ancient crafts people, scholars must deal with a mostly anonymous production. Roman sculptors, painters and mosaicists were considered mere artisans and therefore their names and practices were not

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“…Nevertheless, despite the vast amount of literature available, completely understanding the working systems of decorating activities at Pompeii or Herculaneum remains difficult (see Bragantini 2004 on the erroneous approaches of the last decades). For more than half a century, discussions about painters' organizations, their officinae pigmentariae, working tools and techniques, recognizable stylistic features, and development and diffusion of patterns have occupied the experts although they have reached no uniform conclusions.…”

Section: A New Research Field Focused On Roman Wall Paintingmentioning

confidence: 99%

Mosaics of Frescoes: Digital Photogrammetry, Raster Representation, Pigment Analysis and Metrology of a Flavian Wall Painting on the Caelian Hill (Rome)

Andreoli¹

2014

CAJ

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Chronological and stylistic studies of Roman wall paintings and mosaics were based for a long time only on optical direct analysis and current analogue or digital photographic reproduction. The aims of fresco research today remain the same as in the past -i.e. pigment types and sources, painting subjects and styles, application methods, and the relationship between paintings and the function of their locations. Modern technologies, however, have now been developed which can finally improve our knowledge about ancient decorative taste and workshops. New methodologies such as highly accurate colour reproduction of paintings and mosaics, digital reconstruction of fragmentary decorations, or chemical analyses of pigments or plasters are increasingly being used to fill important research gaps. Some of these techniques are illustrated in this article as solutions to obstacles in the archaeological documentation of an unpublished first-century ad painting (Late Flavian period) on the Caelian Hill in Rome. With relation to Fourth Style decorations, the problematic question as to whether there was an intentional ratio between the component parts of the fresco is also discussed, linking for the first time the Vitruvian architectural concept of Commodulatio (meaning 'with symmetry/proportion') to wall paintings. Price informationis available at: http://journals.cambridge.org/carThe Classical Review is available online at:

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Una pittura senza maestri: la produzione della pittura parietale romana

Cited by 9 publications

References 4 publications

A digital reconstruction of the sunken “Villa con ingresso a protiro” in the underwater archaeological site of Baiae

A digital reconstruction of the sunken “Villa con ingresso a protiro” in the underwater archaeological site of Baiae

Painters and workshops in Pompeii: identifying craftspeople to understand their working practices: Paper from the UWICAH Postgraduate Conference 2015

Mosaics of Frescoes: Digital Photogrammetry, Raster Representation, Pigment Analysis and Metrology of a Flavian Wall Painting on the Caelian Hill (Rome)

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