Relevant bibliographies by topics / Diana (Roman deity) in art

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  2. Dissertations / Theses
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Academic literature on the topic 'Diana (Roman deity) in art'

Author: Grafiati
Published: 25 July 2024
Last updated: 27 July 2025

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Journal articles on the topic "Diana (Roman deity) in art"

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Vacinová, Lenka. "Vzácná varianta republikánského denáru typu RRC 222/1 / A rare variety of the Roman Republican denarius of the RRC 222/1 type." Numismatické listy 73, no. 3-4 (2019): 130–38. http://dx.doi.org/10.37520/nl.2018.014.

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An extremely rare variety of the Roman Republican denarius of the RRC 222/1 type has been identified recently in the numismatic collection of the National Museum in Prague. The article analyses its iconography in a broader context of the Greek and Roman coinages as well as other visual art styles emphasising importance of consistent differentiation between the goddesses Diana and Luna that are frequently confused one with another even in the scholarly literature.
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Lusher, Andrew. "Greek Statues, Roman Cults and European Aristocracy: Examining the Progression of Ancient Sculpture Interpretation." Journal of Arts and Humanities 6, no. 12 (2017): 25. http://dx.doi.org/10.18533/journal.v6i12.1313.

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<p>In 1747 Frederick II of Prussia acquired a rare and highly valuable statue from antiquity and gave it the description of Antinous (the ill-fated lover of the Roman Emperor Hadrian). Although the bronze statue had always been accepted as an original from ancient Greece, the statue eventually assumed the identity of the Roman Antinous. How could Frederick II, an accomplished collector, ignore the blatant style and chronological discrepancies to interpret a Greek statue as a later Roman deity? This article will use the portraiture of Antinous to facilitate an examination of the progressi
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Spivey, Nigel. "Art and Archaeology." Greece and Rome 63, no. 1 (2016): 140–43. http://dx.doi.org/10.1017/s0017383515000327.

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In 1830 a hoard of Roman silver weighing some 25 kilograms was recovered from farmland near Berthouville, between Rouen and Caen. The silver was mostly worked into drinking vessels and associated items such as jugs, ladles, and bowls. Two statuettes of the god Mercury confirmed this as a votive deposit, as indicated by various dedications from Romano-Gallic pilgrims, notably on nine pieces left by Quintus Domitius Tutus (‘Mr Safe’) in the mid-first century ad. Restored by conservation experts at the Getty Museum, the cache – along with several other treasures from Gaul – has served as witness
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Jacoby, Thomas. "ROMAN SCULPTURE (Yale Publications in the History of Art). Diana E. E. Kleiner." Art Documentation: Journal of the Art Libraries Society of North America 12, no. 2 (1993): 91. http://dx.doi.org/10.1086/adx.12.2.27948546.

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Kulakov, Vladimir. "Origin of Symmetrical Composition in Decorative Art of the Viking Age." Izvestia of Smolensk State University, no. 1(57) (July 3, 2022): 178–86. http://dx.doi.org/10.35785/2072-9464-2022-57-1-178-186.

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For the first time, a symmetrical composition with figures of a deity standing on the godsof carnivorous animals appeared in the Middle Eastern art of the III–II millennium B.C. In the Mycenaean era, this composition became known to adherents of Hellenic art, who realized it both in painting and sculpture. This composition realizes the idea of their authors striving to convey to recipients the concept of the power of the depicted deity and his power over the animal world. A symmetrical composition with standing predatory animals, which is a clear
 oriental innovation in the art of ancient
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Mshvildadze, Marika. "Diety Nike-Victoria of the late Antique period on the territory of Georgia." Pro Georgia 33, no. 1 (2023): 161–68. http://dx.doi.org/10.61097/12301604/pg33/2023/161-168.

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The states on the territory of Georgia were part of the Classical antiquity ecumene. Accordingly, both Iberia and Colchis had close trade-economic and cultural relations with the Roman Empire, from where the deities popular in the empire spread to the territory of Georgia. Among them, a special place is occupied by the ancient god of victory, Nike (Ancient Greek: Νίκη). The name Nike is believed to date back to the pre- Greek period. In Greek mythology, Nike appears as a companion of Zeus and Athena. In Greek art, the deity is mainly depicted with symbols of victory – wings, a crown and a palm
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Smith, Tyler Jo. "Highland gods: rock-cut votive reliefs from the Pisidian Survey." Anatolian Studies 61 (December 2011): 133–50. http://dx.doi.org/10.1017/s0066154600008814.

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AbstractBetween 1982 and 1996 a group of rock-cut votive reliefs was discovered during archaeological survey in Pisidia under the direction of Stephen Mitchell and the sponsorship of the British Institute (of Archaeology) at Ankara. The types represented include a horseman deity, perhaps Kakasbos, the Dioscuri with ‘goddess’ and the moon-god Men. The reliefs are discussed according to their cults and iconography, and their contribution to art and religion both locally and beyond. As a religious phenomenon, they are further considered in relation to both regional traditions and empire-wide prac
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Dowling, Melissa Barden. "A Time to Regender: The Transformation of Roman Time." KronoScope 3, no. 2 (2003): 169–83. http://dx.doi.org/10.1163/156852403322849224.

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AbstractAt the end of the first century A.D., at the height of the Roman empire, a new abstract deity of eternal time, Aeternitas, appeared. This first discrete personification of abstract time was initially a female image represented on official coins and monuments, but in A.D. 121, a new male personification of eternal time appeared in imperial, state sponsored art. Both male and female depictions of eternal time were accompanied by a rich array of attributes that connected eternity, immortality, and earthly prosperity. This change in the image of time occurred simultaneously with tremendous
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Hirniak, Mariana. "Symbol of light in “Paternal lantern” by Roman Fedoriv." Слово і Час, no. 6 (November 26, 2020): 31–46. http://dx.doi.org/10.33608/0236-1477.2020.06.31-46.

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The paper deals with the novel “Paternal Lantern” by Roman Fedoriv, namely with the symbolic meanings the light acquires according to its material representation in the work. The writer interprets this symbol, common for the cultures of the whole world, in a rather original way. In the novel, the sunlight is associated with the human internal strength and power of nature; it is a precondition for life as well as evidence of righteous existence on earth. The sunset symbolizes approaching death and thereby manifests the man’s need to rethink his way of life. The fire is a source of light and hea
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Ormand, Kirk. "OVID'S HERMAPHRODITUS AND THE MOLLIS MALE." Ramus 51, no. 1 (2022): 74–104. http://dx.doi.org/10.1017/rmu.2022.4.

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Figures of intersexed individuals perhaps representing the minor Greek deity Hermaphroditus became, for reasons that are not entirely clear, strikingly popular in Roman sculpture and wall painting in the latter half of the first century CE. Depicting a fully bisexed human body, these figures have resulted in competing interpretations regarding their purpose, meaning, and effect. As it happens, we also have a text from the Augustan period that purports to explain not only the origin of the intersexed Hermaphroditus, but the production of future bisexed individuals, in Ovid's Metamorphoses Book
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Dissertations / Theses on the topic "Diana (Roman deity) in art"

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Hobbold, Susanne. "Das Bild des Mars Untersuchung zum römischen Kriegsgott /." Bonn : Rheinischen-Friedrich-Wilhelms Universität, 1995. http://catalog.hathitrust.org/api/volumes/oclc/36578518.html.

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Zalamea, Patricia. "Subject to Diana picturing desire in French Renaissance courtly aesthetics." 2007. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.16804.

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Arya, Darius Andre. "The goddess Fortuna in imperial Rome cult, art, text /." Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3101196.

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Books on the topic "Diana (Roman deity) in art"

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Mazza, Giuseppe. Giuseppe Maria Mazza: Diana e Endimione. Musei civici d'arte antica, 2001.

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2

Devoti, Luigi. Campagna romana viva: Speculum Dianae ; il Lago della Selva Aricina oggi di Nemi. Associazione Tuscolana "Amici di Frascati", 1987.

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3

(Netherlands), Rijksmuseum, ed. Weaving myths: Ovid's Metamorphoses and the Diana tapestries in the Rijksmuseum. Rijksmuseum, 2009.

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Hartkamp-Jonxis, Ebeltje. Weaving myths: Ovid's Metamorphoses and the Diana tapestries in the Rijksmuseum. Rijksmuseum, 2009.

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5

Mette, Moltesen, ed. A catalogue of sculptures from the Sanctuary of Diana Nemorensis in the University of Pennsylvania Museum, Philadelphia. "L'Erma" di Bretschneider, 2002.

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6

Tobias, Fischer-Hansen, and Poulsen Birte, eds. From Artemis to Diana: The goddess of man and beast. Museum Tusculanum, 2009.

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7

Fischer-Hansen, Tobias. From Artemis to Diana: The goddess of man and beast. Museum Tusculanum, 2009.

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8

Katie, Scott, and Arscott Caroline, eds. Manifestations of Venus: Art and sexuality. Manchester University Press, 2000.

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9

Vincenti, Maria Cristina. Diana: Storia, mito e culto della grande dea di Aricia. Palombi, 2010.

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10

Klöckner, Anja. Poseidon und Neptun: Zur Rezeption griechischer Götterbilder in der römischen Kunst. Saarbrücker Drückerei und Verlag, 1997.

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Book chapters on the topic "Diana (Roman deity) in art"

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"Epilogue From Diana via Venus to Isis Viewing the Deity with Apuleius." In Roman Eyes. Princeton University Press, 2007. http://dx.doi.org/10.1515/9780691240244-013.

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