Images & Infliuence
Margaret Malamud, "The imperial Metropolis." In Classical New York: Discovering Greece and Rome in Gotham, pp. 38-52. by
During the rise of New York from the capital of an upstart nation to a global metropolis, the visual language of Greek and Roman antiquity played a formative role in the development of the city's art and architecture. This compilation of essays offers a survey of diverse reinterpretations of classical forms in some of New York's most iconic buildings, public monuments, and civic spaces. Classical New York examines the influence of Greco-Roman thought and design from the Greek Revival of the late eighteenth and early nineteenth centuries through the late-nineteenth-century American Renaissance and Beaux Arts period and into the twentieth century's Art Deco. At every juncture, New Yorkers looked to the classical past for knowledge and inspiration in seeking out new ways to cultivate a civic identity, to design their buildings and monuments, and to structure their public and private spaces. Specialists from a range of disciplines--archaeology, architectural history, art history, classics, and history-- focus on how classical art and architecture are repurposed to help shape many of New York City's most evocative buildings and works of art. Federal Hall evoked the Parthenon as an architectural and democratic model; the Pantheon served as a model for the creation of Libraries at New York University and Columbia University; Pennsylvania Station derived its form from the Baths of Caracalla; and Atlas and Prometheus of Rockefeller Center recast ancient myths in a new light during the Great Depression. Designed to add breadth and depth to the exchange of ideas about the place and meaning of ancient Greece and Rome in our experience of New York City today, this examination of post-Revolutionary art, politics, and philosophy enriches the conversation about how we shape space--be it civic, religious, academic, theatrical, or domestic--and how we make use of that space and the objects in it.
Publication Date: 2018 -- online
Imperial Column
The Column of Trajan by Location: Mugar Stacks NA9340.R8 C6313 2000
The Column of Marcus Aurelius: The Genesis and Meaning of a Roman Imperial Monument by
One of the most important monuments of Imperial Rome and at the same time one of the most poorly understood, the Column of Marcus Aurelius has long stood in the shadow of the Column of Trajan. In The Column of Marcus Aurelius, Martin Beckmann makes a thorough study of the form, content, and meaning of this infrequently studied monument. Beckmann employs a new approach to the column, one that focuses on the process of its creation and construction, to uncover the cultural significance of the column to the Romans of the late second century A.D. Using clues from ancient sources and from the monument itself, this book traces the creative process step by step from the first decision to build the monument through the processes of planning and construction to the final carving of the column's relief decoration. The conclusions challenge many of the widely held assumptions about the value of the column's 700-foot-long frieze as a historical source. By reconstructing the creative process of the column's sculpture, Beckmann opens up numerous new paths of analysis not only to the Column of Marcus Aurelius but also to Roman imperial art and architecture in general.
Publication Date: 2011 - online
Imperial Arch
A Companion to the Flavian Age of Imperial Rome by Publication Date: 2016 onlineArch of Titus, pp. 113-116, 509-512.
Arco di Costantino tra archeologia e archeometria by
Presentazione di Patrizio Pensabene e Clementina Panella Abbreviazioni bibliografiche P. Pensabene, Progetto unitario e reimpiego nell'Arco di Costantino C. Panella, Tecniche costruttive e modalita di inserimento dell'apparato decorativo M. Wilson Jones, Note sulla progettazione architettonica M. Milella, La decorazione architettonica di eta costantiniana: l'archivolto del fornice centrale S. Zeggio, La realizzazione delle fondazioni P. Pensabene, Parte superiore dell'Arco: composizione strutturale e classificazione dei marmi M. Bruno, C. Gorgoni, P. Pallante, I marmi dell'Arco di Settimio Severo: composizione strutturale, volumetria e analisi chimiche M. Bruno, C. Panella, P. Pensabene, M. Preite Martinez, M. Soligo, B. Turi, Determinazione dei marmi dell'Arco di Costantino su base archeometrica R. Punzi, Fonti documentarie per una rilettura delle vicende post-antiche dell'Arco di Costantino.
Location: Mugar Stacks NA9370.R6 A73 1999
The Arch of Septimius Severus in the Roman Forum by Richard BrilliantMemoirs of the American Academy in Rome, 1967-01-01, Vol.29, p.5-271
Reception of the Roman Arch Monument by Kimberly CassibryAmerican journal of archaeology, 2018-04-01, Vol.122 (2), p.245-275
Statue
A Companion to Marcus Aurelius by Publication Date: 2012 - onlineChapter 16: Stewart, Peter, "The Equestrian Statue of Marcus Aurelius," p .264-277
Gergel, Richard A. "An Allegory of Imperial Victory on a Cuirassed Statue of Domitian." Record of the Art Museum, Princeton University 45, no. 1 (1986): 3-15. Accessed September 4, 2020. doi:10.2307/3774652.
Image: https://commons.wikimedia.org/wiki/File:Domitian_Vaison-la-Romaine.jpg (This file is licensed under the Creative Commons Attribution 2.0 Generic license. )
Statues in Roman society representation and response by Peter StewartPublication Date: 2004 - online
The Roman Nude: heroic portrait statuary 200 B.C.-A.D. 300 by
Statues of important Romans frequently represented them nude. Men were portrayed naked holding weapons - the naked emperor might wield the thunderbolt of Jupiter - while Roman women assumed the guise of the nude love-goddess, Venus. When faced with these strange images, modern viewers areusually unsympathetic, finding them incongruous, even tasteless. They are mostly written off as just another example of Roman `bad taste'.This book offers a new approach. Comprehensively illustrated with black and white photographs of nude Romans represented in a wide range of artistic media, it investigates how this tradition arose, and how the nudity of these images was meant to be understood by contemporary viewers. And, since theRomans also employed a variety of other costumes for their statues (toga, armour, Greek philosopher's cloak), it asks, `What could nudity express that other costumes could not?' It is Hallett's claim that - looked at in this way - these `Roman nudes' turn out to be documents of the first importancefor the cultural historian.
Publication Date: 2005 -- online via HathiTrust
The First Hall of Fame : a study of the statues in the Forum Augustum by
Although both national sites of commemoration and Halls of Fame for a variety of human endeavours are widespread, little thought was given to the fact that the statues in the Forum Augustum were the first assemblage of this kind. This book identifies the Greek and Roman backgrounds to and influences on Augustus' decision as well as his probable motives for setting up these statues. The central chapters deal with the structure of the Forum and its statues, and provide a detailed analysis of the list of men (and women) known to have been included and the criteria for inclusion. Finally the additions to the heroes between Augustus and Trajan and the later impact of this Gallery of Heroes are discussed.
Publication Date: 2008 -- online
Paul Zanker, "The irritating Statues and Contradictory Portraits of Julius Caesar." In A Companion to Julius Caesar, 720-770. by
A Companion to Julius Caesar comprises 30 essays from leading scholars examining the life and after life of this great polarizing figure. Explores Caesar from a variety of perspectives: military genius, ruthless tyrant, brilliant politician, first class orator, sophisticated man of letters, and more Utilizes Caesar's own extant writings Examines the viewpoints of Caesar's contemporaries and explores Caesar's portrayals by artists and writers through the ages
Publication Date: 2009 -- online
Portraiture
Roman Portraits in Context by
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.
Publication Date: 2009 -- online
Mutilation and Transformation: damnatio memoriae and Roman imperial portraiture by
The condemnation of memory inexorably altered the visual landscape of imperial Rome. Representations of 'bad' emperors, such as Caligula, Nero, Domitian, Commodus, or Elagabalus were routinely reconfigured into likenesses of victorious successors or revered predecessors. Alternatively, portraits could be physically attacked and mutilated or even executed in effigy. From the late first century B.C. until the fourth century A.D., the recycling and destruction of images of emperors, empresses, and other members of the imperial family occurred on a vast scale and often marked periods of violent political transition. This volume catalogues and interprets the sculptural, glyptic, numismatic and epigraphic evidence for damnatio memoriae and ultimately reveals its praxis to be at the core of Roman cultural identity.
Publication Date: 2004 -- online
Coins
Coining images of power patterns in the representation of Roman emperors on imperial coinage, A.D. 193-284 by Publication Date: 2012 -- online
Monuments in Miniature : architecture on Roman coinage by
The regular representation of the built environment on coins was a purely Roman phenomenon among the ancients. In the Greek world, architectural representation on coinage was very uncommon; when it did appear it referred directly to the local identity of the issuing state. Coins of the Persian satrapies only rarely depicted fortifications in conjunction with traditional Persian emblems of royalty, power, and shrines of the chief deities in the minting city. The Roman use of the iconography of building was fundamentally different. From the first occurrence in 135 BC through the late Roman Empire, the architectural images on coins from Rome commemorated or politicized the monument in question. By the mid-first century BC and into the Imperial period, architecture had become commonplace in the repertoire of Roman coin iconography. Representation of monuments is one of the most beloved (and belabored) topics in studies of Roman coin iconography. It is also a theme in dire need of re-exploration. This comprehensive and chronological approach to architectural coin types conveys the complexity of the subject and underscores how the designs were symptomatic of, and sensitive to, the underlying social, cultural and historical trends that affected both Roman art and Roman society at large.
Location: Mugar Folio CJ161.A72 E44 2015
Monuments of Ancient Rome As Coin Types by Location: Mugar Stacks CJ833 .H55 1989
Roman Art and Imperial Policy by Publication Date: 1986 -- online via HathiTrust
Mausoleum
The Roman Imperial Mausoleum in Late Antiquity by
This book is the first comprehensive study of the mausolea of the later Roman emperors. Constructed between ca. AD 244 and 450 and bridging the transition from paganism to Christianity within the empire, these important buildings shared a common design, that of domed rotunda. Mark Johnson examines the symbolism and function of the mausolea, demonstrating for the first time that these monuments served as temples and shrines to the divinized emperors. Through an examination of literary sources and the archaeological record, he identifies which buildings were built as imperial tombs. Each building is examined to determine its place in the development of the type as well as for its unique features within the group. Recognizing the strong relationship between the mausolea built for pagan and Christian emperors, Johnson also analyzes their important differences.
Location: Mugar Stacks DG272 .J64 2009
Death and the emperor : Roman imperial funerary monuments, from Augustus to Marcus Aurelius by
This book offers the first comprehensive study of the funerary monuments made for the Roman emperors. These monuments, which include the Mausoleum of Augustus, Trajan's Column, and the Column of Marcus Aurelius, are among the best known and most extensively excavated and documented structures of Roman antiquity. Because of their diversity of forms and decorative programs, however, they have been examined in isolation from one another and from a limited number of perspectives. In this study, Penelope J. E. Davies examines these commemorative arches, obelisks and other types of architecture with a view to determining the political or ritual motivations behind their designs. She demonstrates that these monuments served a dual role, as memorials to the dead and as accession monuments that would guarantee dynastic continuity for the monarchy on the precarious occasion of the emperor's death.
Location: Mugar Stacks NB1875 .D38 2000
Background
Art of Empire: the Roman frescoes and Imperial Cult Chamber in Luxor Temple by
The Luxor Temple of Amun-Re, built to commemorate the divine power of the pharaohs, is one of the iconic monuments of New Kingdom Egypt. In the 4th century C.E., the Roman Imperial government, capitalizing on the site's earlier significance, converted the temple into a military camp and constructed a lavishly painted cult chamber dedicated to the four emperors of the Tetrarchy. These frescoes provide fascinating insight into the political landscape of the late Roman Empire and, as the only surviving wall paintings from the tetrarchic period, into the history of Roman art. The culmination of a groundbreaking conservation project, this volume brings together scholars across disciplines for a comprehensive look at the frescoes and their architectural, archaeological, and historical contexts. More than 150 stunning illustrations present the paintings for the first time in their newly conserved state, along with a selection of 19th-century documentary watercolors. This remarkable publication illustrates how physical context, iconography, and style were used to convey ideology throughout Rome's provinces.]]>
Location: Mugar Folio ND2575 .A78 2015
A History of Roman Art by
A History of Roman Art provides a wide-ranging survey of the subject from the founding of Rome to the rule of Rome's first Christian emperor, Constantine. Incorporating the most up-to-date information available on the topic, this new textbook explores the creation, use, and meaning of art in the Roman world. Extensively illustrated with 375 color photographs and line drawings Broadly defines Roman art to include the various cultures that contributed to the Roman system Focuses throughout on the overarching themes of Rome's cultural inclusiveness and art's important role in promoting Roman values Discusses a wide range of Roman painting, mosaic, sculpture, and decorative arts, as well as architecture and associated sculptures within the cultural contexts they were created and developed Offers helpful and instructive pedagogical features for students, such as timelines; key terms defined in margins; a glossary; sidebars with key lessons and explanatory material on artistic technique, stories, and ancient authors; textboxes on art and literature, art from the provinces, and important scholarly perspectives; and primary sources in translation A book companion website is available at www.wiley.com/go/romanart with the following resources: PowerPoint slides, glossary, and timeline Steven Tuck is the 2014 recipient of the American Archaeological Association's Excellence in Undergraduate Teaching Award.
Publication Date: 2015 online
Memoria Romana : memory in Rome and Rome in memory by
Concern with memory permeated Roman literature, history, rhetorical training, and art and architecture. This is the first book to look at the phenomenon from a variety of perspectives, including cognitive science. There is no orthodoxy in memory studies and the approaches are both empirical and theoretical. A central issue is: who and what preserved and shaped cultural memory in Rome, and how did that process work? Areas and subjects covered include the Romans' view of the changing physical fabric of the city, monuments (by etymology related to memory) such as the Arch of Constantine, memory and the Roman triumph, Roman copies of Greek sculpture and their relation to memory, the importance of written information and of continuing process, the creation of memory in Republican memoirs and Flavian poetry, the invention of traditions, and the connection of cultural and digital memory. The ten chapters present original findings that complement earlier scholarship from the perspective of memory and open up new horizons for inquiry. The introduction by volume editor Karl Galinsky situates the work within current studies on cultural and social memory, and the concluding chapter by Daniel Libeskind provides the perspective of a contemporary practitioner. Additional contributors include Richard Jenkyns, Harriet I. Flower, T. P. Wiseman, Karl-J. Hölkeskamp, Gianpiero Rosati, Diane Favro, Jessica Hughes, Anna Anguissola, Lisa Marie Mignone, and Bernard Frischer.
Location: Mugar Stacks DG211 .M46 2014
Monumentality and the Roman Empire: architecture in the Antonine age by
The quality of 'monumentality' is attributed to the buildings of few historical epochs or cultures more frequently or consistently than to those of the Roman Empire. It is this quality that has helped to make them enduring models for builders of later periods. This extensively illustratedbook, the first full-length study of the concept of monumentality in Classical Antiquity, asks what it is that the notion encompasses and how significant it was for the Romans themselves in moulding their individual or collective aspirations and identities. Although no single word existed inantiquity for the qualities that modern authors regard as making up that term, its Latin derivation - from monumentum, 'a monument' - attests plainly to the presence of the concept in the mentalities of ancient Romans, and the development of that notion through the Roman era laid the foundation forthe classical ideal of monumentality, which reached a height in early modern Europe. This book is also the first full-length study of architecture in the Antonine Age - when it is generally agreed the Roman Empire was at its height. By exploring the public architecture of Roman Italy and bothWestern and Eastern provinces of the Roman Empire from the point of view of the benefactors who funded such buildings, the architects who designed them, and the public who used and experienced them, Edmund Thomas analyses the reasons why Roman builders sought to construct monumental buildings anduncovers the close link between architectural monumentality and the identity and ideology of the Roman Empire itself.
Publication Date: 2007 -- online
Roman Art by
Traditional studies of Roman art have sought to identify an indigenous style distinct from Greek art and in the process have neglected the large body of Roman work that creatively recycled Greek artworks. In this fresh assessment the author offers instead a cultural history of the functions of the visual arts, the messages that these images carried, and the values that they affirmed in late Republican Rome and the Empire. The analysis begins at the point at which the characteristic features of Roman art started to emerge, when the Romans were exposed to Hellenistic culture through their conquest of Greek lands in the third century B.C. As a result, the values and social and political structure of Roman society changed, as did the functions and character of the images it generated. This volume, presented in very clear and accessible language, offers new and fascinating insights into the evolution of the forms and meanings of Roman art.
Location: Mugar Stacks N5760 .Z3313 2010
Civic Monuments and the Augustales in Roman Italy by
The combination of portrait statue, monumental support, and public lettering was considered emblematic of Roman public space even in antiquity. This book examines ancient Roman statues and their bases, tombs, dedicatory altars, and panels commemorating gifts of civic beneficence made by the Augustales, civic groups composed primarily of wealthy ex-slaves. Margaret L. Laird examines how these monuments functioned as protagonists in their built and social environments by focusing on archaeologically attested commissions made by the Augustales in Roman Italian towns. Integrating methodologies from art history, architectural history, social history, and epigraphy with archaeological and sociological theories of community, she considers how dedications and their accompanying inscriptions created webs of association and transformed places of display into sites of local history. Understanding how these objects functioned in ancient cities, the book argues, illuminates how ordinary Romans combined public lettering, honorific portraits, emperor worship, and civic philanthropy to express their communal identities.
Publication Date: 2015 -- online
The Roman Triumph by
A radical reexamination of the most extraordinary of ancient ceremonies, this book explores the magnificence of the Roman Triumph--but also its darker side, as it prompted the Romans to question as well as celebrate military glory. This richly illustrated work is a testament to the profound importance of the triumph in Roman culture--and for monarchs and generals ever since.
Publication Date: 2007-- online
Representations of War in Ancient Rome by
War suffused Roman life to a degree unparalleled in other ancient societies. Through a combination of obsessive discipline and frenzied (though carefully orchestrated) brutality, Rome's armies conquered most of the lands stretching from Scotland to Syria, and the Black Sea to Gibraltar. The place of war in Roman culture has been studied in historical terms, but this is the first book to examine the ways in which Romans represented war, in both visual imagery and in literary accounts. Audience reception and the reconstruction of display contexts are recurrent themes here, as is the language of images: a language that is sometimes explicit and at other times allusive in its representation of war. The chapters encompass a wide variety of art media (architecture, painting, sculpture, building, relief, coin), and they focus on the towering period of Roman power and international influence: the 3rd century B.C. to the 2nd century A.D.
Location: Mugar Stacks NX650.W3 R47 2006
"Material Forms of Self-Representation." In A Companion to Marcus Aurelius, pp. 249-314. by
A Companion to Marcus Aurelius presents the first comprehensive collection of essays to explore all essential facets relating to contemporary Marcus Aurelius studies. First collection of its kind to commission new state-of-the-art scholarship on Marcus Aurelius Features readings that cover all aspects of Marcus Aurelius, including source material, biographical information, and writings Contributions from an international cast of top Aurelius scholars Addresses evolving aspects of the reception of the Meditations
Publication Date: 2012 -- online
