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Roman Portraits in Context (Image & Context) - AbeBooks - Jane Fejfer:

Plain text Web page addresses and e-mail addresses turn into links automatically. Lines and paragraphs break automatically. Search the AJA. Archive s. July April October October—December July—September April—June January—March April —June October—December 9.

by Maxwell L. Anderson

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Roman portraits in context

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Roman Portraits in Context: Imperial and Private Likenesses from the Museo Nazionale Romano

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April—June 4. Roman portraiture is also unique in comparison to that of other ancient cultures because of the quantity of surviving examples, as well as the complex and ever-evolving stylistic treatment of human features and character.

Roman Republic Portraits

Roman Portraits: Uses and Re-Uses Private portrait sculpture was most closely associated with funerary contexts. Funerary altars This funerary context for portrait sculpture was rooted in the longstanding tradition of the display of wax portrait masks, called imagenes , in funeral processions of the upper classes to commemorate their distinguished ancestry. These masks, portraits of noted ancestors who had held public office or been awarded special honors, were proudly housed in the household lararium, or family shrine, along with busts made of bronze In displaying these portraits so prominently in the public sphere, aristocratic families were able to celebrate their history of public service while honoring their deceased relatives.


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In the Republic , public sculpture included honorific portrait statues of political officials or military commanders erected by the order of their peers in the Senate. These statues were typically erected to celebrate a noted military achievement, usually in connection with an official triumph, or to commemorate some worthy political achievement, such as the drafting of a treaty.

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These inscriptions typically accompanied public portraits and were a uniquely Roman feature of commemoration. With the establishment of the principate system under Augustus Official imperial portrait types were principally displayed in sebasteia, or temples of the imperial cult , and were carefully designed to project specific ideas about the emperor, his family, and his authority. Two of the most influential, and most widely disseminated, media for imperial portraits were coins Scholars believe that official portrait types were created in the capital city of Rome itself and distributed to the provinces to serve as prototypes for local workshops, which could adapt them to conform to local iconographic traditions and therefore have more meaningful local appeal.

A recarved portrait is relatively easy to recognize; certain features such as a disproportionate hairline or unusually flattened ears are typical signs that a bust had been altered from an earlier likeness. Please sign in to write a review. If you have changed your email address then contact us and we will update your details. We have recently updated our Privacy Policy.

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Review of 'Roman Portraits in Context' by J. Fefjer

Not available. This item has been added to your basket View basket Checkout. No other monumental art form was so widely disseminated throughout the Roman Empire as the portrait statue, and its impact on city life was crucial. By combining a wide socio-historical perspective with a close reading of individual images, their setting, and their inscribed texts, this book suggests how to read the meaning of portraits, even the ones which have been irrevocably isolated from their original context and now adorn museum galleries.

Key Features: startof a new series unique photographic material explanation of the social and political rhetorics of Roman portraits. Added to basket. Affordable Housing.