Art History

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By Barbara E. Borg

A better half to Roman Art encompasses numerous creative genres, historic contexts, and smooth techniques for a entire advisor to Roman art.

• Offers finished and unique essays at the examine of Roman art

• Contributions from wonderful students with unrivalled services masking a wide diversity of foreign approaches

• Focuses at the socio-historical points of Roman artwork, protecting a number of subject matters that experience now not been awarded in any aspect in English

• Includes either shut readings of person paintings works and normal discussions

• Provides an summary of major elements of the topic and an advent to present debates within the field

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Late Republican Rome already possessed a fully developed “art market,” replete with an accepted canon of old m ­ asters, Defining Roman Art 15 fanatical collectors (C. Verres, of course, being the most notorious example), ­pretentious ­connoisseurs, massively inflated prices, professional art dealers, unscrupulous forgers, and public art galleries—which have been claimed by some as the first “art museums” (Alsop 1982; Chevallier 1991; Strong 1994, 13–30; Bounia 2004). All of these categories are well documented from the literary sources.

Xvi–xvii). They propose that we should speak of “visual culture” in order to replace the “History of Art” with a “History of Images,” and in this way avoid perpetuating the many unspoken assumptions and prejudices that inevitably accompany the term “art” in modern art‐historical writing. In the last 20 years it is fair to say that there has been a real surge in the number of studies in art history that have adopted this term—as far as I can tell, largely for the reasons just mentioned. And whether or not one accepts this general position, the designation “visual culture” seems ideally suited to help scholars of ancient art with the special problems presented by the Roman period.

If we subscribe to this definition, hardly anything from the classical world can be regarded as art, since the idea of art as a category of its own that is detached from aspects of usefulness and function is a modern one (Abrams 1981 and 1985). In Greco‐Roman Introduction 3 antiquity, “art” was not created for its own sake but was meant to serve a purpose, whether as a dedication to the gods; an honorific monument to a human being; a monument depicting achievements and expressing ideologies of the state, a social group, or an individual; or furnishing of a public building, house, villa, or tomb.

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