A History of Roman Art provides a wide-ranging survey of the subject from the founding of Rome to the rule of Rome's first Christian emperor, Constantine. Incorporating the most up-to-date information available on the topic, this new textbook explores the creation, use, and meaning of art in the Roman world. Extensively illustrated with 375 color photographs and line drawings Broadly defines Roman art to include the various cultures that contributed to the Roman system Focuses throughout on the overarching themes of Rome's cultural inclusiveness and art's important role in promoting Roman values Discusses a wide range of Roman painting, mosaic, sculpture, and decorative arts, as well as architecture and associated sculptures within the cultural contexts they were created and developed Offers helpful and instructive pedagogical features for students, such as timelines; key terms defined in margins; a glossary; sidebars with key lessons and explanatory material on artistic technique, stories, and ancient authors; textboxes on art and literature, art from the provinces, and important scholarly perspectives; and primary sources in translation A book companion website is available at www.wiley.com/go/romanart with the following resources: PowerPoint slides, glossary, and timeline Steven Tuck is the 2014 recipient of the American Archaeological Association's Excellence in Undergraduate Teaching Award.

A HISTORY OF ROMAN ART, ENHANCED International Edition is a lavishly-illustrated survey of the art of Rome and the Roman Empire from the time of Romulus to the death of Constantine, presented in its historical, political, and social context. This ENHANCED EDITION has added coverage on Etruscan art in the beginning of the text. All aspects of Roman art and architecture are treated, including private art and domestic architecture, the art of the Eastern and Western provinces, the art of freedmen, and the so-called minor arts, including cameos, silverware, and coins. The book is divided into four parts-Monarchy and Republic, Early Empire, High Empire, and Late Empire-and traces the development of Roman art from its beginnings in the 8th century BCE to the mid fourth century CE, with special chapters devoted to Pompeii and Herculaneum, Ostia, funerary and provincial art and architecture, and the earliest Christian art.The original edition of this text was warmly received in the market based on a high level of scholarship, comprehensive contents, and superb visuals.

"This book covers the 1300 years from the Villanovan and Etruscan forerunners of the Romans to the introduction of Christianity under the Emperor Constantine the Great. The text examines the Roman artistic output chronologically, showing how greatly it was influenced by the taste and patronage of the various emperors. Each chapter focuses on one historical period or dynasty, and explores the history, myth and literature behind the art."--BOOK COVER.

A complete introduction to the rich cultural legacy of Rome through the study of Roman art ... It includes a discussion of the relevance of Rome to the modern world, a short historical overview, and descriptions of forty-five works of art in the Roman collection organized in three thematic sections: Power and Authority in Roman Portraiture; Myth, Religion, and the Afterlife; and Daily Life in Ancient Rome. This resource also provides lesson plans and classroom activities."--Publisher website.

From monumental tombs and domestic decoration, to acts of benefaction and portraits of ancestors, Roman freed slaves, or freedmen, were prodigious patrons of art and architecture. Traditionally, however, the history of Roman art has been told primarily through the monumental remains of the emperors and ancient writers who worked in their circles. In this study, Lauren Petersen critically investigates the notion of 'freedman art' in scholarship, dependent as it is on elite-authored texts that are filled with hyperbole and stereotypes of freedmen, such as the memorable fictional character Trimalchio, a boorish ex-slave in Petronius' Satyricon. She emphasizes integrated visual ensembles within defined historical and social contexts and aims to show how material culture can reflect preoccupations that were prevalent throughout Roman society. Interdisciplinary in scope, this book explores the many ways that monuments and artistic commissions by freedmen spoke to a much more complex reality than that presented in literature.

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

An introduction to the study of ancient Roman art in its social context.

Offering a unique blend of thematic and chronological investigation, this highly illustrated, engaging text explores the rich historical, cultural, and social contexts of 3,000 years of Greek art, from the Bronze Age through the Hellenistic period. Uniquely intersperses chapters devoted to major periods of Greek art from the Bronze Age through the Hellenistic period, with chapters containing discussions of important contextual themes across all of the periods Contextual chapters illustrate how a range of factors, such as the urban environment, gender, markets, and cross-cultural contact, influenced the development of art Chronological chapters survey the appearance and development of key artistic genres and explore how artifacts and architecture of the time reflect these styles Offers a variety of engaging and informative pedagogical features to help students navigate the subject, such as timelines, theme-based textboxes, key terms defined in margins, and further readings. Information is presented clearly and contextualized so that it is accessible to students regardless of their prior level of knowledge A book companion website is available at www.wiley.gom/go/greekart with the following resources: PowerPoint slides, glossary, and timeline

This exceptionally well-illustrated text explores Roman art in the traditional historical manner -- with a focus on painting, sculpture, architecture, and minor arts. It assumes no prior acquaintance with the classical world, and explains the necessary linguistic, historical, religious, and political background needed to fully understand Roman art. In-depth information, historical photographs, drawings, engravings, and illustrations of architectural monuments, sculptures, paintings and decorative arts in all areas. Chronological presentation of material features: the Villanovan and Etruscan Forerunners 1000-200 BC.; the Roman Republic 200-27 BC; Augustus and the Imperial Idea 27 BC-AD 14; The Julio-Claudians AD 14-68; The Flavians: Savior to Despot AD 69-98; Trajan, Optimus Princeps AD 98-117; Hadrian and the Classical Revival AD 117-138; The Antonines AD 138-198; The Severans AD 193-235; The Soldier Emperors AD 235-284 AD; The Tetrarchs AD 284-312; Constantine AD 307-337 and the Aftermath.

The recent crisis in the world of antiquities collecting has prompted scholars and the general public to pay more attention than ever before to the archaeological findspots and collecting histories of ancient artworks. This new scrutiny is applied to works currently on the market as well as to those acquired since (and despite) the 1970 UNESCO Convention, which aimed to prevent the trafficking in cultural property. When it comes to famous works that have been in major museums for many generations, however, the matter of their origins is rarely considered. Canonical pieces like the Barberini Togatus or the Fonseca bust of a Flavian lady appear in many scholarly studies and virtually every textbook on Roman art. But we have no more certainty about these works' archaeological contexts than we do about those that surface on the market today. This book argues that the current legal and ethical debates over looting, ownership and cultural property have distracted us from the epistemological problems inherent in all (ostensibly) ancient artworks lacking a known findspot, problems that should be of great concern to those who seek to understand the past through its material remains.

The study of Roman sculpture has been an essential part of the disciplines of Art History and Classics since the eighteenth century. Famous works like the Laocoön, the Arch of Titus, and the colossal portrait of Constantine are familiar to millions. Again and again, scholars have returned to sculpture to answer questions about Roman art, society, and history. Indeed, the field of Roman sculptural studies encompasses not only the full chronological range of the Roman world but also its expansive geography, and a variety of artistic media, formats, sizes, and functions. Exciting new theories, methods, and approaches have transformed the specialized literature on the subject in recent decades. Rather than creating another chronological catalogue of representative examples from various periods, genres, and settings, The Oxford Handbook of Roman Sculpture synthesizes current best practices for studying this central medium of Roman art, situating it within the larger fields of Art History, Classical Archaeology, and Roman Studies. This comprehensive volume fills the gap between introductory textbooks and highly focused professional literature. The Oxford Handbook of Roman Sculpture conveniently presents new technical, scientific, literary, and theoretical approaches to the study of Roman sculpture in one reference volume while simultaneously complementing textbooks and other publications that present well-known works in the corpus. The contributors to this volume address metropolitan and provincial material from the early republican period through late antiquity in an engaging and fresh style. Authoritative, innovative, and up-to-date, The Oxford Handbook of Roman Sculpture will remain an invaluable resource for years to come.

This handbook explores key aspects of art and architecture in ancient Greece and Rome. Drawing on the perspectives of scholars of various generations, nationalities, and backgrounds, it discusses Greek and Roman ideas about art and architecture, as expressed in both texts and images, along with the production of art and architecture in the Greek and Roman world.

In recent decades, memory has become one of the major concepts and a dominant topic in philosophy, sociology, politics, history, science, cultural studies, literary theory, and the discussions of trauma and the Holocaust. In contemporary debates, the concept of memory is often used rather broadly and thus not always unambiguously. For this reason, the clarification of the range of the historical meaning of the concept of memory is a very important and urgent task. This volume shows how the concept of memory has been used and appropriated in different historical circumstances and how it has changed throughout the history of philosophy. In ancient philosophy, memory was considered a repository of sensible and mental impressions and was complemented by recollection-the process of recovering the content of past thoughts and perceptions. Such an understanding of memory led to the development both of mnemotechnics and the attempts to locate memory within the structure of cognitive faculties. In contemporary philosophical and historical debates, memory frequently substitutes for reason by becoming a predominant capacity to which one refers when one wants to explain not only the personal identity but also a historical, political, or social phenomenon. In contemporary interpretation, it is memory, and not reason, that acts in and through human actions and history, which is a critical reaction to the overly rationalized and simplified concept of reason in the Enlightenment. Moreover, in modernity memory has taken on one of the most distinctive features of reason: it is thought of as capable not only of recollecting past events and meanings, but also itself. In this respect, the volume can be also taken as a reflective philosophical attempt by memory to recall itself, its functioning and transformations throughout its own history.

This new survey makes sense of Roman art by placing works in their full historical context--showing students not only how but also why art was used in Roman society and politics (such as wealthy Romans sponsoring public projects to promote themselves). The book breaks new ground by devoting chapters to art from the provinces, rather than focusing solely on Rome itself. Mark Fullerton provides the most in-depth look at Roman art from across the empire, connecting Roman art to the Mediterranean and the wider world.

The Fifth Edition of A History of the Roman People continues to provide a comprehensive analytical survey of Roman history from its prehistoric roots in Italy and the wider Mediterranean world to the dissolution of the Roman Empire in Late Antiquity in A.D. 600. Clearly organized and highly readable, the text's narrative of major political and military events provides a chronological and conceptual framework for the social, economic, and cultural developments of the periods covered. Major topics are treated separately so that students can easily grasp key concepts and ideas.

In this new and authoritative history of the Roman republic, distinguished historian Klaus Bringmann traces the rise of a small city state near the Tiber estuary into a power that controlled the Italian peninsula and created the final Empire of antiquity, an Empire that was to become both the most enduring in the ancient world and to have the most far-reaching consequences for posterity. Whilst this book is chronologically organized, giving the reader a clear sense of the historical progress and dynamics of Roman republican history, it also offers a coherent and authoritative overview of the culture, economics, religion and military might of the Roman empire, presented in an original and stimulating way. Thoroughly referenced and illustrated throughout, with a wealth of primary sources from great Roman writers such as Cicero and Plutarch, A History of the Roman Republic will be essential reading for university students in history and classical studies. It will also appeal to a wider audience of general readers who are interested in the history of the Ancient world and its legacy.

This book, first published in 2004, develops a theoretical concept for understanding the Roman art of images.

'One could not ask for a more meticulous or scholarly assessment of what Britain meant to the Romans, or Rome to Britons, than Peter Salway's Monumental Study' Frederick Raphael, Sunday Times From the invasions of Julius Caesar to the unexpected end of Roman rule in the early fifth century AD and the subsequent collapse of society in Britain, this book is the most authoritative and comprehensive account of Roman Britain ever published for the general reader. Peter Salway's narrative takes into account the latest research including exciting discoveries of recent years, and will be welcomed by anyone interested in Roman Britain.

Roman sculpture was an integral part of Roman life, and the Romans placed statues and reliefs in their flora, basilicas, temples and public baths as well as in their houses, villas, gardens and tombs.

This second edition examines all aspects of Roman history, and contains a new introduction, three new chapters and updated bibliographies.