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This book constitutes the first comprehensive publication of a cache of eight bronzes from east-central Gaul. The types of objects and accompanying inscriptions suggest that these bronzes originally came from a sanctuary of a god named Cobannus. The first part of the book describes, analyzes, and interprets the individual objects, which are divided between the J. Paul Getty Museum and the Shelby White - Leon Levy Collection. The latter part of this work places the cache within a chronological, cultic, and cultural context. The Cobannus hoard is valuable not only from an artistic point of view but also for the information it provides on many different aspects of the religious, social, and political life of Roman Gaul. The book is lavishly illustrated, with 2 maps and 117 illustrations.
Portrait sculptures are among the most vibrant records of ancient Greek and Roman culture. They represent people of all ages and social strata: revered poets and philosophers, emperors and their family members, military heroes, local dignitaries, ordinary citizens, and young children. The Met's distinguished collection of Greek and Roman portraits in stone and bronze is published in its entirety for the first time in this volume. Paul Zanker, a leading authority on Roman sculpture today, has brought his exceptional knowledge to the study of these portraits; in presenting them, he brings the ancient world to life for contemporary audiences. Each work is lavishly illustrated, meticulously described, and placed in its historical and cultural context. The lives and achievement of significant figures are discussed in the framework of the political, social, and practical circumstances that influenced their portrait's forms and styles—from the unvarnished realism of the late Republican period to the idealizing and progressively abstract tendencies that followed. Analyses of marble portraits recarved into new likenesses after their original subjects were forgotten or officially repudiated provide especially compelling insights. Observations on fashions in hairstyling, which typically originated with the Imperial family and spread as fast as the rulers' latest portraits could be distributed, not only edify and amuse but also link the Romans' motives and appetite for imitation to our own. More than a collection catalogue, Roman Portraits is a thorough and multifaceted survey of ancient portraiture. Charting the evolution of this art from its origins in ancient Greece, it renews our appreciation of an connection to these imposing, timeless works.
This is the second volume in a series on wide-ranging topics relating to objects in the Antiquities collection of the Getty Museum. It consists of seven articles in English, German, and Italian. Chronologically ranging from Pier Giovanni Guzzo's presentation of two early sixth-century-B.C. silver cups to a technical analysis by Maya Elston and Jeffrey Maish of a rare late-antique wooden sarcophagus from Egypt. Despoina Tsiafakis discusses a South Italian bronze askos in the shape of a siren, and Gina Salapata analyzes a pair of South Italian terra-cotta arulae. As a companion text to his publication of an important jewelry assemblage in Greek Gold from Hellenistic Egypt (see p. 13), Michael Pfrommer presents an in-depth scholarly interpretation of the jewelry. Janet Burnett Grossman has compiled a catalogue of portraits of Alexander the Great in various media from the Getty Museum; and two life-size bronze portraits of delicati, thought to be from Gaul, are the topic of John Pollini's detailed discussion.
The papers in this volume derive from the proceedings of the nineteenth International Bronze Congress, held at the Getty Center and Villa in October 2015 in connection with the exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World. The study of large-scale ancient bronzes has long focused on aspects of technology and production. Analytical work of materials, processes, and techniques has significantly enriched our understanding of the medium. Most recently, the restoration history of bronzes has established itself as a distinct area of investigation. How does this scholarship bear on the understanding of bronzes within the wider history of ancient art? How do these technical data relate to our ideas of styles and development? How has the material itself affected ancient and modern perceptions of form, value, and status of works of art? www.getty.edu/publications/artistryinbronze
Ancient bronze statuary provides a sense of immediacy, a window directly back to the classical world. The wistful expression of a young Roman woman, the fixed jaw of a politician, and the tensed muscles of a Greek athlete appear startlingly lifelike, transfixing the viewer with their striking realism. Incredibly durable yet frequently destroyed for their valuable materials, ancient bronzes are comparatively rare discoveries. This book, richly illustrated with works from the J. Paul Getty Museum and other important collections, provides an engaging overview of classical bronzes. Enduring Bronze considers bronze throughout its long history, exploring its enormous appeal from antiquity to the present day. The book discusses the many roles bronze objects played in ancient Greece and Rome and analyzes discoveries made at ancient foundries and by contemporary scientists. It also examines references to bronze in mythology, Pliny’s histories, and other classical texts, as well as representations on vases and other artworks.
Replete now with its own scholarly traditions and controversies, Roman slavery as a field of study is no longer limited to the economic sphere, but is recognized as a fundamental social institution with multiple implications for Roman society and culture. The essays in this collection explore how material culture – namely, art, architecture, and inscriptions – can illustrate Roman attitudes towards the institution of slavery and towards slaves themselves in ways that significantly augment conventional textual accounts. Providing the first interdisciplinary approach to the study of Roman slavery, the volume brings together diverse specialists in history, art history, and archaeology. The contributors engage with questions concerning the slave trade, manumission, slave education, containment and movement, and the use of slaves in the Roman army.
Richard Hingley here asks the questions: What is Romanization? Was Rome the first global culture? Romanization has been represented as a simple progression from barbarism to civilization. Roman forms in architecture, coinage, language and literature came to dominate the world from Britain to Syria. Hingley argues for a more complex and nuanced view in which Roman models provided the means for provincial elites to articulate their own concerns. Inhabitants of the Roman provinces were able to develop identities they never knew they had until Rome gave them the language to express them. Hingley draws together the threads of diverse and separate study, in one sophisticated theoretical framework that spans the whole Roman Empire. Students of Rome and those with an interest in classical cultural studies will find this an invaluable mine of information.
This special issue of the American Journal of Philology illuminates the nature and function of food and dining in the Roman world, offering historical, sociological, literary, cultural, and material perspectives. The articles collected here explore topics from diverse fields to analyze Roman culture and material practice, including the dietary practices and nutritional concerns of the Romans, dining and its links to ideology during the early imperial period, public banqueting and its social function in Roman society, and the emphasis placed on the waiting servant in both domestic and funerary settings. The American Journal of Philology is renowned for its role in helping to shape American classical scholarship. Today the Journal has achieved worldwide recognition as a forum for international exchange among classicists by publishing original research in Greco-Roman literature, and culture.
Political image-making—especially from the Age of Augustus, when the Roman Republic evolved into a system capable of governing a vast, culturally diverse empire—is the focus of this masterful study of Roman culture. Distinguished art historian and classical archaeologist John Pollini explores how various artistic and ideological symbols of religion and power, based on Roman Republican values and traditions, were taken over or refashioned to convey new ideological content in the constantly changing political world of imperial Rome. Religion, civic life, and politics went hand in hand and formed the very fabric of ancient Roman society. Visual rhetoric was a most effective way to communicate and commemorate the ideals, virtues, and political programs of the leaders of the Roman State in an empire where few people could read and many different languages were spoken. Public memorialization could keep Roman leaders and their achievements before the eyes of the populace, in Rome and in cities under Roman sway. A leader’s success demonstrated that he had the favor of the gods—a form of legitimation crucial for sustaining the Roman Principate, or government by a “First Citizen.” Pollini examines works and traditions ranging from coins to statues and reliefs. He considers the realistic tradition of sculptural portraiture and the ways Roman leaders from the late Republic through the Imperial period were represented in relation to the divine. In comparing visual and verbal expression, he likens sculptural imagery to the structure, syntax, and diction of the Latin language and to ancient rhetorical figures of speech. Throughout the book, Pollini’s vast knowledge of ancient history, religion, literature, and politics extends his analysis far beyond visual culture to every aspect of ancient Roman civilization, including the empire’s ultimate conversion to Christianity. Readers will gain a thorough understanding of the relationship between artistic developments and political change in ancient Rome.