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E-raamat: Roman Portraits in Context

  • Formaat: PDF+DRM
  • Sari: Image & Context
  • Ilmumisaeg: 13-Mar-2009
  • Kirjastus: De Gruyter
  • Keel: eng
  • ISBN-13: 9783110209990
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  • Formaat: PDF+DRM
  • Sari: Image & Context
  • Ilmumisaeg: 13-Mar-2009
  • Kirjastus: De Gruyter
  • Keel: eng
  • ISBN-13: 9783110209990
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The highest honour a Roman citizen could hope for was a portrait statue in the forum of his city. While the emperor and high senatorial officials were routinely awarded statues, strong competition existed among local benefactors to obtain this honour, which proclaimed and perpetuated the memory of the patron and his family for generations. There were many ways to earn a portrait statue but such local figures often had to wait until they had passed away before the public finally fulfilled their expectations. It is argued in this book that our understanding and contemplation of a Roman portrait statue is greatly enriched, when we consider its wider historical context, its original setting, the circumstances of its production and style, and its base which, in many cases, bore a text that contributed to the rhetorical power of the image.



Image & Context (ICON) is the first international series that focuses on the image and the imagery in the ancient world. The most distinctive quality of the image is its unique suggestive potential. An image can both catch the viewer's attention in a fraction of a second and stamp itself forever on his mind. At the core of the series are the questions of how and by whom images were shaped and perceived, and how images functioned within and contributed to a specific cultural context. The series aims to stimulate new discussion about the visual cultures of the ancient world and new approaches towards a history of the image.

Arvustused

"Fejfers Werk zeichnet sich durch exzellentes Abbildungsmaterial und sachkundige Darstellung aus. Durch eine kritische Positionierung zum Forschungsstand gelingt es Fejfer in der Interpretation romischer Portraits immer wieder neue Wege zu beschreiten. Fejfers Untersuchung durfte der vielleicht wichtigsten Kunstform des Imperium Romanum eher gerecht werden als allein stilistische Analysen."Isabelle Kunzer in: Journal fur Kunstgeschichte 1/2010

Preface v
Introduction 1(15)
Part One: Public Honours and Private Expectations
The so-called Roman Private Portrait
16(57)
What is a private Roman portrait?
16(1)
The honorific statue
17(3)
The origin of the honorific statue habit in the West
20(5)
The honorific inscription
25(1)
The statue base
25(4)
The text
29(4)
Honorific statues and social status: Who was represented?
33(12)
Dedicators: who set up the portraits?
45(3)
How to earn a portrait statue: personal expectations, public affirmation and audience responses
48(3)
Location: Where were the portraits set up?
51(12)
Ancestors for eternity
63(10)
Corporate Spaces, Houses, Villas and Tombs
73(79)
Corporate buildings
73(16)
Houses and villas
89(16)
Tomb
105(47)
Part Two: Modes of Representation
The Material of Roman Portraits
152(29)
Painting
153(4)
Bronze and white marble
157(6)
Travertine, limestone and other local stones
163(3)
Gold, gilding, silver and ivory
166(2)
Coloured stones
168(3)
Miniatures
171(3)
Wax
174(1)
Other
175(6)
Statuary Body Types of Roman Men: All About Status?
181(47)
The full-figure statuary body types of Roman men. All about status?
181(2)
The toga
183(17)
Continuity and change in drapery
188(8)
Toga versus himation
196(2)
Problems in chronology
198(2)
Nudity
200(7)
The earliest nude statues of Romans
201(2)
Nude body and `realistic' head: a source of conflict?
203(2)
The identity of the honorand
205(2)
The cuirass
207(21)
The earliest Romans represented in cuirass
211(1)
The identity of the honorand
212(1)
The toga statue once again
213(15)
Abbreviated Formats
228(34)
The herm shaft
228(5)
The clipeus, or tondo
233(2)
The half-figure bust
235(1)
The freestanding bust
236(26)
Origin
236(3)
Distribution and display of the freestanding bust
239(5)
Development and iconography of the bust
244(18)
Selves and Others: Ways of Expressing Identity in the Roman Male Portrait
262(69)
Greek or Roman? The origin of Roman Republican portrait styles
262(8)
The `period-face' and its impact
270(9)
The limitations and the possibilities of the period-face: variation in portrait styles
279(6)
The portraits of actors from the Sanctuary of Diana Nemorensis: a case study in diversity
285(46)
Identifying workshops in Roman private portraits?
308(23)
Part Three: The Empress and her Fellow Elite Women
Roman Women in Public
331(42)
Dressing up a Roman Woman: statuary body types
331(20)
Head and hair
351(22)
Part Four: The Emperor
Representing the Roman Emperor
373(74)
The Emperor in Rome: setting the scene
375(5)
The Emperor in Rome: close encounter
380(4)
Where were the free-standing statues of the emperor set up in Rome?
384(5)
Who set up the statues of the emperor in Rome?
389(1)
Statues for eternity?
390(3)
Statuary formats and statuary body types
393(11)
Defining the emperor's head
404(3)
Commissioning of prototypes
407(12)
Market, replication and dissemination
419(7)
The emperor en route
426(7)
Epilogue
Power, Honour, and Memory
433(6)
Appendix
Addendum: Statuary Formats and Statuary Habits in Literary
Sources: the Inscription Honouring Lucius Volusius Saturninus
439(8)
The different habits of Saturninus' statues
440(7)
Notes 447(64)
Works and Abbreviations Cited 511(44)
List of Illustrations 555(12)
Museum Index 567(10)
General Index 577
Jane Fejfer, University of Copenhagen, Denmark.