Posts
Speranza
In ROMA, the patrician class comprised the most privileged families:
the AEMILII
the CLAUDII
the CONRNELII
the FURII
the JULII
the SERVILII
the SULPICII
and the VALERII.
---
Tuesday, September 4, 2012
KLEINER'S IMPLICATURE (cancellation)
Speranza
From "Scultura Romana" (Yale, p. 2):
"The word 'provincial' connotes a lack of
quality and sophistication, but it is NOT
used here in a pejorative way."
---
From "Scultura Romana" (Yale, p. 2):
"The word 'provincial' connotes a lack of
quality and sophistication, but it is NOT
used here in a pejorative way."
---
Storia della scultura romana
Speranza
KLEINER
Table of contents
0. INTRODUCTION.
1. THE ART OF THE REPUBLIC
2. THE AGE OF AVGVSTVS and the birth of IMPERIAL ART.
3. ART UNDER THE JULIO-CLAUDIANS.
4. THE CIVIL WAR OF 68-69, the FLAVIAN dynasty, and NERVA
5. ART UNDER TRAJAN AND ADRIANO.
6. ANTONINE ART: the beginning of LATE ANTIQUITY
7. THE SEVERAN DINASTY
8. THE THIRD CENTURY: a century of CIVIL WAR.
9. THE TETRARCHY.
10. THE CONSTANTINIAN PERIOD
--- Glossary of Greek and Latin terms.
KLEINER
Table of contents
0. INTRODUCTION.
1. THE ART OF THE REPUBLIC
2. THE AGE OF AVGVSTVS and the birth of IMPERIAL ART.
3. ART UNDER THE JULIO-CLAUDIANS.
4. THE CIVIL WAR OF 68-69, the FLAVIAN dynasty, and NERVA
5. ART UNDER TRAJAN AND ADRIANO.
6. ANTONINE ART: the beginning of LATE ANTIQUITY
7. THE SEVERAN DINASTY
8. THE THIRD CENTURY: a century of CIVIL WAR.
9. THE TETRARCHY.
10. THE CONSTANTINIAN PERIOD
--- Glossary of Greek and Latin terms.
La scultura romana -- table of contents
Speranza
The Art of the Republic
The Age of Augustus and the Birth Imperial Art
Art under the Julio-Claudians
The Civil War of 68-69 AD
Art under Trajan and Hadrian; Antonine Art
The Beginning of Late Antiquity
The Severan Dynasty
The Third Century - A Century of Civil War
The Tetrarchy
The Constantinian Period.
The Art of the Republic
The Age of Augustus and the Birth Imperial Art
Art under the Julio-Claudians
The Civil War of 68-69 AD
Art under Trajan and Hadrian; Antonine Art
The Beginning of Late Antiquity
The Severan Dynasty
The Third Century - A Century of Civil War
The Tetrarchy
The Constantinian Period.
La scultura romana
Speranza
KLEINER
A superlative book. All art historians, teachers, scholars, and concerned readers will be richer for its appearance.
Arguably the most important survey on the subject to date. The clearly written scholarly text moves majestically through the Late Republic to the reign of Constantine.
[Kleiner's] unique combination of scholarship, enthusiasm, clarity, intuition, her ability to provoke reappraisals of what had previously seemed fully explored while aware of recent archaeology, recommend her for this daunting project.
The author discusses the major public and private monuments in Rome as well as lesser known monuments in other parts of the empire, examining the sculpture in its cultural, political and social contexts.
The book is well written and easy to read.
A magisterial survey of Roman sculpture.
Kleiner's strength lies in the magisterial way in which she has ordered the mass of material. . . . A full-dress, up-to-date, and readable survey."—Greece and Rome
A chronological survey devoted exclusively to Roman sculpture from the Republic to Constantine. . .
The book's outstanding strength is Kleiner's full discussion of contexts, whether historical, political, social, or architectural. . . . This beautiful, well illustrated book is a major contribution to its field.
A fascinating and important work for scholars and students of art.
"This book is a welcome addition to the field. It is a methodically balanced and lucid discussion of Roman sculpture. It will serve as a useful and accessible introductory text for the non-specialist and undergraduate reader, as well as being an excellent reference source for scholars."—Susan E. Kane, Apollo Magazine
"Such a book has long been needed. . . . [Kleiner's] is the best available study of Roman sculpture in its full range of manifestations."—Roger Ling, Journal of Roman Archaeology
KLEINER
A superlative book. All art historians, teachers, scholars, and concerned readers will be richer for its appearance.
Arguably the most important survey on the subject to date. The clearly written scholarly text moves majestically through the Late Republic to the reign of Constantine.
[Kleiner's] unique combination of scholarship, enthusiasm, clarity, intuition, her ability to provoke reappraisals of what had previously seemed fully explored while aware of recent archaeology, recommend her for this daunting project.
The author discusses the major public and private monuments in Rome as well as lesser known monuments in other parts of the empire, examining the sculpture in its cultural, political and social contexts.
The book is well written and easy to read.
A magisterial survey of Roman sculpture.
Kleiner's strength lies in the magisterial way in which she has ordered the mass of material. . . . A full-dress, up-to-date, and readable survey."—Greece and Rome
A chronological survey devoted exclusively to Roman sculpture from the Republic to Constantine. . .
The book's outstanding strength is Kleiner's full discussion of contexts, whether historical, political, social, or architectural. . . . This beautiful, well illustrated book is a major contribution to its field.
A fascinating and important work for scholars and students of art.
"This book is a welcome addition to the field. It is a methodically balanced and lucid discussion of Roman sculpture. It will serve as a useful and accessible introductory text for the non-specialist and undergraduate reader, as well as being an excellent reference source for scholars."—Susan E. Kane, Apollo Magazine
"Such a book has long been needed. . . . [Kleiner's] is the best available study of Roman sculpture in its full range of manifestations."—Roger Ling, Journal of Roman Archaeology
Roman sculpture -- scultura romana
Speranza
Roman sculpture was an integral part of Roman life, and the Romans placed statues and reliefs in their fora, basilicas, temples and public baths as well as in their houses, villas, gardens and tombs.
In her illustrated book, D. Kleiner discuses all the major public and private monuments in Rome, as well as many less well-known monuments in the capital and elsewhere in the empire.
Kleiner examines art commissioned by the imperial elite as well as by private patrons, including freedmen and slaves and also highlights monuments honouring women and children.
Kleiner demonstrates that the social, ethnic and geographical diversity of Roman patronage led to an art that was eclectic and characterised by varying styles, often tied to the social status of the patron, but she also examines the interrelations between works produced for different kinds of patrons.
Kleiner begins with a long thematic introduction that describes Rome and its empire, characterises patrons from the capital and the provinces, discusses the position of the artist in Roman society and the materials he used, and presents a history of the study of Roman art.
The remaining chapters constitute a chronological examination of Roman sculpture from the foundation of Rome in 753 BC to the transfer of the capital to Constantinople in AD 330. In each period the monuments are divided by type, for example portraiture, state relief sculpture, the art of freedmen and provincial art.
Throughout, Kleiner treats Roman Sculpture in its cultural, political and social contexts and, wherever possible, as an element of the architectural commplex in which it was set.
Kleiner has created a fascinating and important work for scholars and students of art.
Where most surveys of ancient art examine painting, sculpture, architecture, and minor arts in unison, Kleiner chooses to concentrate only on the sculpture of ancient Rome.
She examines less-well-known monuments throughout the Roman Empire as well as major and minor public and private monuments in Rome and places these all in their artistic, geographical, political, and social contexts.
Kleiner's analytic writing and the well-planned layout of the text provide ready access to a massive amount of information.
Unfortunately, the reproductions are adequate rather than brilliant.
This will prove a useful addition to any serious collection of Roman art or civilization. -
This book gives Roman art an identity of its own.
Ms. Kleiner does indeed show how eclectic Roman sculpture is/was.
But she also shows and explains how artists wrought texture out of stone, their flare for facial features, the thoughtful tilt of the head or the significance of a raised eyebrow.
There is more to Romans than conquest.
This book makes that clear. This book also does an excellent job of relating historical events to tastes in sculpture.
Good but not over the top
This book is part of what I have to read in my introduction course in greek/roman art.
In this respect it is maby not optimal, the autor focuses too much on works of art that no longer exist, and works that aren't that well known.
I wish she would focus more on the really famous pieces.
What is really good is that it follows the Emperors cronologically, and that makes it easier too understand the connection between art and society.
For people with special interests in the field, it is probably wonderful, but with 460 pages it is long and a bit too much information for a new student.
Roman sculpture was an integral part of Roman life, and the Romans placed statues and reliefs in their fora, basilicas, temples and public baths as well as in their houses, villas, gardens and tombs.
In her illustrated book, D. Kleiner discuses all the major public and private monuments in Rome, as well as many less well-known monuments in the capital and elsewhere in the empire.
Kleiner examines art commissioned by the imperial elite as well as by private patrons, including freedmen and slaves and also highlights monuments honouring women and children.
Kleiner demonstrates that the social, ethnic and geographical diversity of Roman patronage led to an art that was eclectic and characterised by varying styles, often tied to the social status of the patron, but she also examines the interrelations between works produced for different kinds of patrons.
Kleiner begins with a long thematic introduction that describes Rome and its empire, characterises patrons from the capital and the provinces, discusses the position of the artist in Roman society and the materials he used, and presents a history of the study of Roman art.
The remaining chapters constitute a chronological examination of Roman sculpture from the foundation of Rome in 753 BC to the transfer of the capital to Constantinople in AD 330. In each period the monuments are divided by type, for example portraiture, state relief sculpture, the art of freedmen and provincial art.
Throughout, Kleiner treats Roman Sculpture in its cultural, political and social contexts and, wherever possible, as an element of the architectural commplex in which it was set.
Kleiner has created a fascinating and important work for scholars and students of art.
Where most surveys of ancient art examine painting, sculpture, architecture, and minor arts in unison, Kleiner chooses to concentrate only on the sculpture of ancient Rome.
She examines less-well-known monuments throughout the Roman Empire as well as major and minor public and private monuments in Rome and places these all in their artistic, geographical, political, and social contexts.
Kleiner's analytic writing and the well-planned layout of the text provide ready access to a massive amount of information.
Unfortunately, the reproductions are adequate rather than brilliant.
This will prove a useful addition to any serious collection of Roman art or civilization. -
This book gives Roman art an identity of its own.
Ms. Kleiner does indeed show how eclectic Roman sculpture is/was.
But she also shows and explains how artists wrought texture out of stone, their flare for facial features, the thoughtful tilt of the head or the significance of a raised eyebrow.
There is more to Romans than conquest.
This book makes that clear. This book also does an excellent job of relating historical events to tastes in sculpture.
Good but not over the top
This book is part of what I have to read in my introduction course in greek/roman art.
In this respect it is maby not optimal, the autor focuses too much on works of art that no longer exist, and works that aren't that well known.
I wish she would focus more on the really famous pieces.
What is really good is that it follows the Emperors cronologically, and that makes it easier too understand the connection between art and society.
For people with special interests in the field, it is probably wonderful, but with 460 pages it is long and a bit too much information for a new student.
Subscribe to:
Posts (Atom)
