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The cycle of frescoes from the oecus or banqueting hall in the Villa of Publius Fannius Synistor in Boscoreale is generally interpreted as a portrait gallery of a Hellenistic dynasty. The iconological study presented in this volume offers historical and art-historical arguments against this supposition. On the basis of a meticulous iconographic analysis, the author arrives at an entirely new interpreta-tion. He demonstrates that the individual panels of which the fresco cycle is composed are not unica, as was hitherto assumed, but that they belong to an iconographical tradition which has left traces elsewhere in ancient art. On the basis of this new interpretation, the author comes to the conclusion that the fresco cycle from the Villa of Fannius was intended as an eloquent testimony to the cultural aspirations of a well-to-do Roman from the middle of the first century B.C.
Why are so many Hellenistic kings shown with one arm in the air? Could posture distinguish the slave from the citizen? Was there a Hellenistic etiquette of sitting down? How did Hellenistic Greeks feel about the bodies of the disabled and the elderly? And what did it mean to Tuck-for-Luck? This richly-illustrated book brings together a wide range of Hellenistic art objects, and reveals how ancient social attitudes were encoded in the body language of their subjects. Incorporating approaches from anthropology and archaeology, it considers a wide range of social groups, from the elite to slaves, and examines the postures, gestures, and body actions which were considered appropriate to each. By examining Hellenistic kings, queens, public intellectuals, citizen men and women, Africans, servants, paidagogoi, fishermen, peasants, old women, dwarfs, and the disabled, this study provides important new insights into what is 'Hellenistic' about Hellenistic Art, and into the anxieties of Hellenistic society. In doing so, it not only reconsiders familiar concepts such as the 'individuality' of the civic elite and the apparent passivity of women, but also reveals Hellenistic attitudes towards issues such as old age, race, and child abuse, and explores power, prejudice, and the role of art in both reflecting and enforcing social stereotypes.
"Thanks to this volume, the reader can visit the Roman houses of Pompeii, Herculaneum, Boscoreale, Oplontis, and Rome that display superb Roman frescoes on their walls ... An essay by Donatella Mazzoleni highlights the connections between Roman architecture and the programs of illusionistic wall paintings employed in these magnificent structures. Umberto Pappalardo examines the Roman domestic ideal and its realization in wall painting and through other elements of interior decoration. The two essays precede a sumptuously illustrated guide to twenty-eight of the most beautiful houses - among them, the Villa of the Mysteries, the House of the Vettii, and the House of the Faun in Pompeii; the House of Livia, the Villa Farnesina, and the Domus Aurea in Rome; the House of the Grand Portal in Herculaneum; and the Villa of Publius Fannius Synistor in Boscoreale."--BOOK JACKET.
In spite of the growing amount of important new work being carried out on uses of myth in particular ancient contexts, their appeal and reception beyond the framework of one culture have rarely been the primary object of enquiry in contemporary debate. Highlighting the fact that ancient societies were linked by their shared use of mythological narratives, Wandering Myths aims to advance our understanding of the mechanisms by which such tales were disseminated cross-culturally and to investigate how they gained local resonances. In order to assess both wider geographic circulations and to explore specific local features and interpretations, a regional approach is adopted, with a particular focus on Anatolia, the Near East and Italy. Contributions are drawn from a range of disciplines, and cross a wide chronological span, but all are interlinked by their engagement with questions focusing on the factors that guided the processes of reception and steered the facets of local interpretation. The Preface and Epilogue evaluate the material in a synoptic way and frame the challenging questions and views expressed in the Introduction.
"Reprint of The Metropolitan Museum of Art Bulletin (Spring 2010)."
A Companion to Roman Art encompasses various artistic genres, ancient contexts, and modern approaches for a comprehensive guide to Roman art. Offers comprehensive and original essays on the study of Roman art Contributions from distinguished scholars with unrivalled expertise covering a broad range of international approaches Focuses on the socio-historical aspects of Roman art, covering several topics that have not been presented in any detail in English Includes both close readings of individual art works and general discussions Provides an overview of main aspects of the subject and an introduction to current debates in the field
For the Romans, much of life was seen, expressed and experienced as a form of theatre. In their homes, patrons performed the lead, with a supporting cast of residents and visitors. This sumptuously illustrated book, the result of extensive interdisciplinary research, is the first to investigate, describe and show how ancient Roman houses and villas, in their décor, spaces, activities and function, could constitute highly-theatricalised environments, indeed, a sort of 'living theatre'. Their layout, purpose and use reflected and informed a culture in which theatre was both a major medium of entertainment and communication and an art form drawing upon myths exploring the core values and beliefs of society. For elite Romans, their homes, as veritable stage-sets, served as visible and tangible expressions of their owners' prestige, importance and achievements. The Roman home was a carefully crafted realm in which patrons displayed themselves, while 'stage-managing' the behaviour and responses of visitor-spectators.
This book explores the juxtapositions of image and text in a wide variety of ancient works of art.
In this study Dr Smith investigates the use of political personifications in the visual arts of Athens in the Classical period (480-323 BCE). Whether on objects that served primarily private roles (e.g. decorated vases) or public roles (e.g. cult statues and document stelai), these personifications represented aspects of the state of Athens—its people, government, and events—as well as the virtues (e.g. Nemesis, Peitho or Persuasion, and Eirene or Peace) that underpinned it. Athenians used the same figural language to represent other places and their peoples. This is the only study that uses personifications as a lens through which to view the intellectual and political climate of Athens in the Classical period.
In this iconological study, the author demonstrates the invalidity of the current interpretation of the relief on the so-called Peleus and Thetis sarcophagus in the Villa Albani in Rome, an interpretation which goes back to Winckelmann. By applying a modern art-historical method, he arives at a fundamentally new interpretation. It becomes clear that the splendid sarcophagus in the Villa Albani is highly characteristic of 'academic' art of the Hadrianic era. The unique nature of the representation on the Albani sarcophagus, which consists mainly of allegorical figures, makes it an excellent point of entry for the interpretation of mythological scenes applied in a funerary context.