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The Ancient Art of Emulation
Are copies of Greek and Roman masterpieces as important as the originals they imitate?
Roman Art in the Private Sphere
"This is a stimulating book and should be compulsory reading for all students of Roman art." ---Classical Review "For all the authors, attention to the ensemble, a sense of the relation between the formal and the iconographic, and the desire to historicize their material contribute to making this anthology unusual in its rigorous and creative attention to the way that art and architecture participate in the construction of the image of the Roman elite." ---Art Bulletin Roman Art in the Private Sphere presents an impressive case for the social and art historical importance of the paintings, mosaics, and sculptures that filled the private houses of the Roman elite. The six essays in this volum...
The Oxford Handbook of Roman Sculpture
Situates the study of Roman sculpture within the fields of art history, classical archaeology, and Roman studies, presenting technical, scientific, literary, and theoretical approaches.
Leisure & Luxury in the Age of Nero
Catalogue of the exhibition held at Kelsey Museum of Archaeology, Ann Arbor, Michigan.
The Aesthetics of Emulation in the Visual Arts of Ancient Rome
Arguing that the scholarship on this topic has not appreciated Roman values in the visual arts, this book examines Roman strategies for the appropriation of the Greek visual culture. A knowledge of Roman values explains the entire range of visual appropriation in Roman art, which includes not only the phenomenon of copying, but also such manifestations as allusion, parody, and, most importantly, aemulatio, successful rivalry with one's models.
The Villa of the Mysteries in Pompeii
This is a catalogue of an exhibition by the Kelsey Museum at the University of Michigan which focused on a cycle of frescoes found in 1990 at the well-known villa on the outskirts of ancient Pompeii. Probably painted around 60 BC, the cycle depicts young women probably being initiated into the cult of Bacchus (Dionysus) in preparation for marriage. The catalogue presents a number of objects connected with the villa, as well as the reconstruction watercolours commissioned by Francis Willey Kelsey, founder of the museum, from Maria Barosso, an artist working in Rome at the time of the frescoes' discovery. Even more interesting are the ten essays that precede the artefacts, which focus on `women and cult in the art of Roman Italy' and have been developed out of a research group led by Gazda.
Karanis, an Egyptian Town in Roman Times
Karanis, a town in Egypt's Fayum region founded around 250 BC, housed a farming community with a diverse population and a complex material culture that lasted for hundreds of years. Ultimately abandoned and partly covered by the encroaching desert, Karanis eventually proved to be an extraordinarily rich archaeological site, yielding tens of thousands of artifacts and texts on papyrus that provide a wealth of information about daily life in the Roman-period Egyptian town. This volume tells of the history and culture of Karanis, and also provides a useful introduction to the University of Michigan's excavations between 1924 and 1935 and to the artifacts, archival records and photographs of the excavation that now form one of the major components of the collection of the Kelsey Museum of Archaeology.
Antiquity Recovered
'Antiquity Recovered' presents 13 diverse essays that trace how perceptions of the past have changed over the course of three centuries of excavations. They range in subject from a reassessment of the contents of the library at Herculaneum's Villa of the Papyri, to the symbolic appearance of the ancient world in classic films.
Shaky Ground
The recent crisis in the world of antiquities collecting has prompted scholars and the general public to pay more attention than ever before to the archaeological findspots and collecting histories of ancient artworks. This new scrutiny is applied to works currently on the market as well as to those acquired since (and despite) the 1970 UNESCO Convention, which aimed to prevent the trafficking in cultural property. When it comes to famous works that have been in major museums for many generations, however, the matter of their origins is rarely considered. Canonical pieces like the Barberini Togatus or the Fonseca bust of a Flavian lady appear in many scholarly studies and virtually every textbook on Roman art. But we have no more certainty about these works' archaeological contexts than we do about those that surface on the market today. This book argues that the current legal and ethical debates over looting, ownership and cultural property have distracted us from the epistemological problems inherent in all (ostensibly) ancient artworks lacking a known findspot, problems that should be of great concern to those who seek to understand the past through its material remains.
Roman Artists, Patrons, and Public Consumption
A fascinating shift toward more nuanced interpretations of Roman art that look at different kinds of social knowledge and local contexts
