By Barbara E. Borg
A better half to Roman Art encompasses numerous inventive genres, old contexts, and glossy methods for a complete consultant to Roman art.
• Offers entire and unique essays at the research of Roman art
• Contributions from special students with unrivalled services masking a extensive variety of foreign approaches
• Focuses at the socio-historical facets of Roman artwork, overlaying numerous themes that experience no longer been offered in any element in English
• Includes either shut readings of person artwork works and normal discussions
• Provides an summary of major points of the topic and an advent to present debates within the field
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Extra info for A Companion to Roman Art
This approach was taken up with enthusiasm for a while in Germany, but then just as quickly abandoned as it emerged more and more clearly that the ancient evidence could not support this interpretation. Nevertheless, these developments in Germany have bequeathed to us in the English‐speaking world what must be counted as the dominant approach to this material at the current time. Brunilde Ridgway, Elaine Gazda, Ellen Perry, and Miranda Marvin (among others) have all become strong proponents of this view.
The Romans undoubtedly had a sense of the level of skill needed to accomplish certain results, and of the visual effects generated by different materials and surfaces. They also admired some artists while ignoring others, although, especially with regard to copies of Greek artworks, the reputation of the original artist certainly mattered as well, which turned the item into “cultural capital” (Bourdieu 1979). The degree to which technique and material contributed to the aesthetics of sculpture is largely ignored in surveys of Roman art, but is demonstrated lucidly by Mont Allen in Chapter 8.
5)—non‐elite art, sometimes still misleadingly referred to as “plebeian art”—then we have the recipe for just about everything that one finds in a contemporary handbook of Roman art. ” The problem with all of this, of course, is that what we are calling “Roman art” is actually a selection. It leaves out of the picture a large part of Roman artistic production. Whole categories of objects, produced in great quantity during this period, are either not acknowledged at all or are only very selectively admitted.