Verfügbarkeit: Roman portraits in context

Roman portraits in context:

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Bibliographische Detailangaben
1. Verfasser:	Fejfer, Jane (VerfasserIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	Berlin [u.a.] de Gruyter 2008
Schriftenreihe:	Image & context 2
Schlagworte:	Geschichte Bildnisstatue Bildnis Römisches Reich
Online-Zugang:	Inhaltstext Inhaltsverzeichnis
Beschreibung:	IX, 592 S. zahlr. Ill., graph. Darst., Kt.
ISBN:	9783110186642

Internformat

MARC


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Datensatz im Suchindex

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