Synopsis
Tonio Hölscher develops a new theoretical concept for understanding the Roman art of images by establishing a connection between artistic forms and content and expressions of ideology--such as the glorification of state and ruler, war and triumph. A large role is played here by the reception of earlier images from Greek art. Roman art therefore appears to operate as a semantic system which, from an interdisciplinary perspective, can be compared with the forms of Roman literature as well as the language of images of other cultures.
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About the Authors
Tonio Hölscher is Professor of Classical Archaeology at the University of Heidelberg. His publications focus on public monuments, political iconography and urbanism in Ancient Greece and Rome and on general art and cultural theory. His is a member of various scientific institutions, including the Academia Europae, London.
Anthony Snodgrass is Emeritus Professor of Classical Archaeology in the University of Cambridge whose books include Homer and the Artists (Cambridge University Press, 1998).
Jas' Elsner is Humfry Payne Senior Research Fellow in Classical Art and Archaeology in the University of Oxford. His books include Art and the Roman Viewer (Cambridge University Press, 1995) and Imperial Rome and Christian Triumph (1998).
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The Language of Images in Roman Art
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Paperback. Condition: new. Paperback. This book develops a new theory for the understanding of Roman pictorial art. By treating Roman art as a semantic system it establishes a connection between artistic forms and the ideological messages contained within. The history of Roman art traditionally followed the model of a sequence of stylistic phases affecting the works of their era in the manner of a uniform Zeitgeist. By contrast, the author shows different stylistic forms being used for different themes and messages. The reception of Greek models, a key phenomenon of Roman art, thus appear in a new light. The formulations of specific messages are established from Greek art types of different eras serving to express Roman ideological values: classical forms for the grandeur of the state, Hellenistic forms for the struggling effort of warfare. In this way a conceptual and comprehensible pictorial language arose, uniting the multicultural population of the Roman state. This book, first published in 2004, develops a theoretical concept for understanding the Roman art of images. It establishes a connection between artistic forms and content and expressions of ideology, arguing that Roman art appears to operate as a semantic system comparable to Roman literature and the language of images of other cultures. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9780521665698
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Paperback. Condition: New. New trade softcover in glossy printed wraps. 8vo. (6 x 9 inches) Text is clean and free of marks or underlining. Includes glossary, chronology, references, index, and photos. xxxiii, 151 pp. Fast shipping in a secure book box mailer with tracking. This book develops a new theory for the understanding of Roman pictorial art. By treating Roman art as a semantic system it establishes a connection between artistic forms and the ideological messages contained within. The history of Roman art traditionally followed the model of a sequence of stylistic phases affecting the works of their era in the manner of a uniform Zeitgeist. In contrast, the author shows different stylistic forms being used for different themes and messages. This leads to the reception of Greek models, a basic phenomenon of Roman art, appearing in a new light. The formulations of specific messages are established from Greek art types of different eras: Classical forms for the grandeur of the state, for example. Different stylistic forms from the Greek past serve to express Roman ideological values. In this way a conceptual and comprehensible pictorial language arose, uniting the multicultural population of the Roman state. Seller Inventory # 200619
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Paperback. Condition: Very Good. This book, first published in 2004, develops a theory for the understanding of Roman pictorial art. By treating Roman art as a semantic system it establishes a connection between artistic forms and the ideological messages contained within. The history of Roman art traditionally followed the model of a sequence of stylistic phases affecting the works of their era in the manner of a uniform Zeitgeist. By contrast, the author shows different stylistic forms being used for different themes and messages. The reception of Greek models, a key phenomenon of Roman art, thus appear in a new light. The formulations of specific messages are established from Greek art types of different eras serving to express Roman ideological values: classical forms for the grandeur of the state, Hellenistic forms for the struggling effort of warfare. In this way a conceptual and comprehensible pictorial language arose, uniting the multicultural population of the Roman state. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged. Seller Inventory # GOR010086219
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