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Relevant bibliographies by topics / Roman painting

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Academic literature on the topic 'Roman painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Roman painting"

1

Park, Joohyang. "A Study of the Roman de Fauvel, a 14th Century French Manuscript: Focusing on the Satirical Technique of Images in Roman de Fauvel." Korean Society of Culture and Convergence 45, no. 9 (2023): 435–49. http://dx.doi.org/10.33645/cnc.2023.09.45.09.435.

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Roman de Fauvel conveys the turbulent politics of France during the reign of Philip IV (1268-1314) through poetry, music and painting. This thesis discusses how such political themes were expressed in paintings in Roman de Fauvel. Before discussing the paintings, a discussion of the two authors of Roman de Fauvel will examine the context in which they were created and their intentions. Because the manuscript was created from the perspective of Roman de Fauvel's alignment with political forces and criticism of his time. Based on this understanding, the painting techniques used in Roman de Fauve

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Bartman, Elizabeth, and Roger Ling. "Roman Painting." Classical World 85, no. 6 (1992): 724. http://dx.doi.org/10.2307/4351153.

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Barringer, Judith M. "The Mythological Paintings in the Macellum at Pompeii." Classical Antiquity 13, no. 2 (1994): 149–66. http://dx.doi.org/10.2307/25011012.

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This article attempts to establish and examine the context of the two remaining mythological paintings in the Macellum, the central market of Pompeii. Panels of Io and Argos and of Penelope and Odysseus grace the interior walls, and while the identification of the Penelope figure has been the subject of debate, she clearly derives from Greek prototypes of Penelope, both material and theatrical. Indeed, scholars suggest that the Io panel and perhaps the Penelope painting as well are copies of Greek panel paintings created by a fourth-century B.C. artist, but it is argued here that their pairing

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Grandazzi, Alexandre. "Considerations of Roman Painting." Diogenes 42, no. 167 (1994): 57–75. http://dx.doi.org/10.1177/039219219404216704.

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Bergmann, Bettina. "Roman Painting. Roger Ling." Classical Philology 88, no. 3 (1993): 254–58. http://dx.doi.org/10.1086/367367.

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Rogers, Dylan. "The Hanging Garlands of Pompeii: Mimetic Acts of Ancient Lived Religion." Arts 9, no. 2 (2020): 65. http://dx.doi.org/10.3390/arts9020065.

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Roman painting is full of items associated with religious practice. Garlands, in particular, are found represented in Roman frescoes, often draped over different panels to enliven the painted surface with the semblance of abundant fresh flowers. There are indications, however, that in Roman domestic spaces, latrines, and streets, physical garlands were actually attached to the frescoes as votive offerings that mimic the painted garlands behind them. This paper considers how Roman paintings worked in tandem with garlands and other physical objects, and how Pompeiians engaged in mimetic acts. Th

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Pauletta, Fabio, and Maartje Van Gelder. "Portraying Women in Revolt:." Rijksmuseum Bulletin 72, no. 2 (2024): 100–121. http://dx.doi.org/10.52476/trb.19304.

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The present article analyses the painting The Uprising of the Women of Rome on the Capitol by the Dutch-Danish painter Pieter Isaacsz (1569-1625). This work depicts the mythical story of the Roman boy Papirius, who, after attending a meeting of the Roman Senate, lied to his inquisitive mother to safeguard political secrets, falsely telling her that the senators were deliberating the introduction of systematic bigamy. Enraged, his mother then marched to the Capitol, leading a crowd of elite married women in protest. In the (limited) visual tradition of this classical story, it is always the boy

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Santiago Godos, Victoria. "La recuperación y restauración de la pintura mural romana en el sureste español." Virtual Archaeology Review 4, no. 9 (2013): 135. http://dx.doi.org/10.4995/var.2013.4264.

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<p>Recovery of the Roman wall painting in the southeast Spanish is done, by a party's own excavations in the archaeological site, where you can find this mural in two ways, still located in the walls of Roman villas or at the foot of these walls collapsed, fragmented and even buried, making it necessary cooperation in the recovery work of the archaeologist and restorer. You can also recall Roman wall paintings in the collections of archaeological museums, as many boxes remain innumerable multitude of fragments of mural pieces found in excavations and record stored there pending further s

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Radpour, Roxanne, Christian Fischer, and Ioanna Kakoulli. "New Insight into Hellenistic and Roman Cypriot Wall Paintings: An Exploration of Artists’ Materials, Production Technology, and Technical Style." Arts 8, no. 2 (2019): 74. http://dx.doi.org/10.3390/arts8020074.

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A recent scientific investigation on Hellenistic and Roman wall paintings of funerary and domestic contexts from Nea (‘New’) Paphos, located in the southwest region of Cyprus, has revealed new information on the paintings’ constituent materials, their production technology and technical style of painting. Nea Paphos, founded in the late 4th century BC, became the capital of the island during the Hellenistic period (294–58 BC) and developed into a thriving economic center that continued through the Roman period (58 BC–330 AD). A systematic, analytical study of ancient Cypriot wall paintings, ex

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Rampazzi, Laura, Cristina Corti, Ludovico Geminiani, and Sandro Recchia. "Unexpected Findings in 16th Century Wall Paintings: Identification of Aragonite and Unusual Pigments." Heritage 4, no. 3 (2021): 2431–48. http://dx.doi.org/10.3390/heritage4030137.

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Sixteenth century wall paintings were analyzed from a church in an advanced state of decay in the Apennines of central Italy, now a remote area but once located along the salt routes from the Po Valley to the Ligurian Sea. Infrared spectroscopy (FTIR-ATR), X-ray diffraction (XRD) and scanning electron microscopy (SEM) with a microprobe were used to identify the painting materials, as input for possible future restoration. Together with the pigments traditionally used for wall painting, such as ochre, ultramarine blue, bianco di Sangiovanni, cinnabar/vermilion, azurite, some colors were also fo

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Dissertations / Theses on the topic "Roman painting"

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Tamm, John A. "Argentum potorium in Romano-Campanian wall-painting /." *McMaster only, 2001.

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Coates, Jason McKrindey. "Times New Roman." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1192.

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It is difficult to say that anything will be proven in this thesis of mine. I think of it more as an account of some things that happened in my artwork over the course of graduate school and my earlier development as an artist. Some influences are listed, but certainly not all of them. Likewise, the work that is mentioned in this paper represents a sampling rather than an in-depth survey. I don't have any tables or charts.

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Rea, Giorgio. "Imagines pictae. Il ritratto nella pittura romana." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL070.

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Ce projet vise à reconstruire le développement du portrait peint à Rome et l’utilisation de ce type de support figuré à Rome, à partir de la République jusqu’à la fin du IIIe siècle après J.C. Le portrait peint dans l’art romain suit les changements culturels et les limites de l’Empire, en se mêlant avec des traditions artistiques de différentes aires culturelles. L’étude de ce sujet, qui présente de profondes difficultés, est souvent considéré à tort comme un sous-argument de la thématique du portrait statuaire à Rome. Or le portrait peint mérite une étude comme sujet indépendant car, dans l’

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Miller, Lucy. "Egyptian imagery on Roman walls: The Relationship between Roman and Egyptian Elements in the First-century CE Roman Wall Painting Isiac Ritual Worship from Herculaneum." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23785.

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Incorporating Egyptian imagery in a Roman medium, Isiac Ritual Worship is a remarkable example of first-century CE Roman wall painting. Discovered in Herculaneum, it illustrates a ritual to the Egyptian goddess Isis. Discussions of Isiac Ritual Worship in modern scholarship position the wall painting as evidence of Isiac ritual practice in Roman Italy without conducting a close visual analysis and examining its combined use of Roman and Egyptian imagery. Therefore, in this thesis, I ask two pressing questions: How does Roman and Egyptian imagery coalesce in Isiac Ritual Worship? And why are th

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Nichols, Marden Fitzpatrick. "Vitruvius and the rhetoric of display : wall painting, domestic architecture and Roman self-fashioning." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611534.

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Didonè, Alessandra. "La pittura romana nella Regio X: dalla schedatura informatizzata all'analisi degli aspetti artistici e culturali." Doctoral thesis, Università degli studi di Padova, 2015. http://hdl.handle.net/11577/3424290.

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The study is part of the TECT project, which originated from the collaboration between research groups of the universities of Padova and Bologna. The goal is the creation of a database to systematically record the presence of Roman wall paintings in Cisalpine Gaul. This research aims to analyze and examine all the Roman wall-paintings that have been recovered in Regio X, ranging from the 2nd century BC to the 4th century AD, using the database and the glossary developed for the TECT project. The study aims to test the database through processing data which had never been analysed as a whole

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ORIOLO, FLAVIANA. "LA PITTURA ROMANA NELLA CISALPINA ORIENTALE : CONTESTI ARCHITETTONICI E SISTEMI DECORATIVI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1411.

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Il tema del progetto di ricerca è lo studio della pittura romana nell’area della Cisalpina orientale, con particolare riferimento alle problematiche connesse alla definizione dei processi formativi e delle peculiarità delle maestranze. L’ambito geografico considerato è compreso tra Altino e Trieste: all’interno di questo comparto territoriale Aquileia e Altino hanno costituito i due ambiti privilegiati della ricerca, anche per la possibilità di condurre un’indagine rigorosa su tutto il materiale pittorico conservato presso i Musei Archeologici. L’esame autoptico condotto con un approccio metod

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ORIOLO, FLAVIANA. "LA PITTURA ROMANA NELLA CISALPINA ORIENTALE : CONTESTI ARCHITETTONICI E SISTEMI DECORATIVI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1411.

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Il tema del progetto di ricerca è lo studio della pittura romana nell’area della Cisalpina orientale, con particolare riferimento alle problematiche connesse alla definizione dei processi formativi e delle peculiarità delle maestranze. L’ambito geografico considerato è compreso tra Altino e Trieste: all’interno di questo comparto territoriale Aquileia e Altino hanno costituito i due ambiti privilegiati della ricerca, anche per la possibilità di condurre un’indagine rigorosa su tutto il materiale pittorico conservato presso i Musei Archeologici. L’esame autoptico condotto con un approccio metod

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Bowman, Michael R. "Creating the Elsewhere: Virtual Reality in the Ancient Roman World." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429644077.

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Holzworth, Rebecca Joy. "The Apse Murals in San Agustin de Acolman: Augustinian Friars as the Foundation of the Roman Church in Sixteenth-Century New Spain." Thesis, The University of Arizona, 2007. http://hdl.handle.net/10150/193471.

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This thesis considers the apse murals in the sixteenth-century Augustinian mission church of San Agustin de Acolman. These murals feature three horizontal rows of enthroned popes, bishops, cardinals, and friars. I connect these murals to contemporary conflicts between the regular and secular clergy in the New Spanish church, arguing that the Augustinians at Acolman used their apse to hierarchically position themselves within the New Spanish church.The figures in these murals will be identified as an allegory of the Roman Church. Comparisons will be drawn between the murals and the Sistine

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Books on the topic "Roman painting"

1

Roger, Ling. Stuccowork and painting in Roman Italy. Ashgate, 1999.

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2

1949-, Pappalardo Umberto, and Romano Luciano, eds. Domus: Wall painting in the Roman house. J. Paul Getty Museum, 2004.

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Becerra, Angela. Nepodvlastna︠i︡a vremeni: Roman. "Inostranka", 2010.

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Tolici, Roman. Roman Tolici. Pandora M, 2016.

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Gagliardi, Jacques. Le roman de la peinture moderne. Hazan, 2006.

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1919-1993, Artymowski Roman, ed. Roman Artymowski: Prace wybrane. Muzeum Narodowe w Warszawie, 1998.

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Beaulieu, Marie-Claire, and Valérie Toillon. Greek and Roman Painting and the Digital Humanities. Routledge, 2021. http://dx.doi.org/10.4324/9781003092780.

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Rozenberg, Silvia. Enchanted landscapes: Wall paintings from the Roman era. Sirkis, 1993.

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(Jerusalem), Muzeʼon artsot ha-Miḳra, ed. Enchanted landscapes: Wall paintings from the Roman era. Thames and Hudson, 1994.

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Malizia, Rosario. La pittura romana a Terracina. BookArt, 2019.

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Book chapters on the topic "Roman painting"

1

Moormann, Eric M. "Roman Wall Painting." In Encyclopedia of Global Archaeology. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_3405.

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Moormann, Eric M. "Roman Wall Painting." In Encyclopedia of Global Archaeology. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-51726-1_3405-1.

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Lorenz, Katharina. "Wall Painting." In A Companion to Roman Art. John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886205.ch13.

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Rystedt, Eva. "Roman painting. Interior walls at Pompeii." In Excursions into Greek and Roman Imagery. Routledge, 2022. http://dx.doi.org/10.4324/b22992-3.

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Rystedt, Eva. "Greek painting. Tableware from Athens." In Excursions into Greek and Roman Imagery. Routledge, 2022. http://dx.doi.org/10.4324/b22992-2.

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Whitehouse, Helen. "Mosaics and Painting in Graeco-Roman Egypt." In A Companion to Ancient Egypt. Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444320053.ch44.

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Watts, Laura L. "Tommaso Minardi and the Roman Destiny." In Italian Painting in the Age of Unification. Routledge, 2021. http://dx.doi.org/10.4324/9781003120506-3.

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Bologna, Francesca. "How Were Roman Wall Paintings Made?" In Greek and Roman Painting and the Digital Humanities. Routledge, 2021. http://dx.doi.org/10.4324/9781003092780-12.

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Beaulieu, Marie-Claire, and Valérie Toillon. "Introduction." In Greek and Roman Painting and the Digital Humanities. Routledge, 2021. http://dx.doi.org/10.4324/9781003092780-1.

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Beaulieu, Marie-Claire, and Valérie Toillon. "Conclusion." In Greek and Roman Painting and the Digital Humanities. Routledge, 2021. http://dx.doi.org/10.4324/9781003092780-15.

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Conference papers on the topic "Roman painting"

1

FIKRI, Imane. "Wall Paintings from The Roman City of Volubilis in Morocco: XRF, Raman and FTIR-ATR Analyses." In Mediterranean Architectural Heritage. Materials Research Forum LLC, 2024. http://dx.doi.org/10.21741/9781644903117-17.

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Abstract The work is an in-depth investigation of painting remains from the roman city of Volubilis in Morocco, classified World Heritage. Raman and ATR-FTIR structural and XRF elemental spectroscopies were crossed to decrypt the pigments adopted by roman craftsmen in the south Mediterranean region. Red-ochre alone or in admixture with cinnabar was used in brown-red paintings, while yellow ochre, green earth and Egyptian blue pigments were used to achieve yellow, green and blue ones. All pigments highlighted had been commonly used in the roman world, among which some ones continue until the me

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Sato, Tetsuro, Kotaro Hayashi, and Ikuo Mizuuchi. "Painting creation method by impression feedback to a painting generator from an impression estimator." In 2016 25th IEEE International Symposium on Robot and Human Interactive Communication (RO-MAN). IEEE, 2016. http://dx.doi.org/10.1109/roman.2016.7745105.

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Armetta, Francesco, Dario Giuffrida, Barbara Fazzari, et al. "New insight about the mural painting branches of Roman baths in Reggio Calabria." In 2022 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. IMEKO, 2023. http://dx.doi.org/10.21014/tc4-arc-2022.023.

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Kruk, MiroslawKruk. "STS CONSTANTINE CYRIL AND METHODIUS AS PATRONS OF THE KINGDOM OF POLAND." In THE PATH OF CYRIL AND METHODIUS – SPATIAL AND CULTURAL HISTORICAL DIMENSIONS. Cyrillo-Methodian Research Centre – Bulgarian Academy of Sciences, 2023. http://dx.doi.org/10.59076/2815-3855.2023.33.06.

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In 1436 Zbigniew Oleśnicki (1423–1455), Bishop of Kraków, mentioned that Saint Cyril and Saint Methodius, were the patrons of the Polish kingdom. This event remains highly mysterious, as because the bishop was rather famous for his activities in the field of strengthening the role of the Roman Catholic Church, and nothing is known of his other manifestations of sympathy for the Orthodox Church, its patrons and saints. 108 Intriguing in this context are the plans for the introduction of ecclesiastical union which were supposedly presented by Gregory Tsamblak, an envoy of Władysław Jagiełło, Kin

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Brunet-Gaston, Véronique, and Christophe Gaston. "Painting and Sculpture Conservation in Two Gallo-Roman Temples in Picardy (France): Champlieu and Pont-Sainte-Maxence." In XI International Conference of ASMOSIA. University of Split, Arts Academy in Split; University of Split, Faculty of Civil Engineering, Architecture and Geodesy, 2018. http://dx.doi.org/10.31534/xi.asmosia.2015/07.01.

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Istrate, George Dan. "The image of the other in titles pertaining to visual arts. References to painting." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/56.

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The term multiculturalism is very complex and implies, among other things, the ethnic and cultural differences that exist in a specific geographical area. Our aim is to investigate the way in which these differences are noticeable in paintings and are perceived in the context of the analysis of the titles of paintings. As a part of this approach, we have to consider first and foremost the relations between the linguistic sign and the visual one. Practically, the title sequence which sets apart a visual work from all the others functions as a personal name; it is a linguistic sign which, first

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Cristini, O., C. Kinowski, T. Jarry, et al. "Micro-Raman spectroscopic identification of pigments of 4th century Roman wall paintings." In XXII INTERNATIONAL CONFERENCE ON RAMAN SPECTROSCOPY. AIP, 2010. http://dx.doi.org/10.1063/1.3482530.

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Birolo, Leila, Manuela Rossi, Miriam Alberico, et al. "Inorganic, organic and biochemical characterization of wall paintings from a Roman domus." In 2023 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. IMEKO, 2023. http://dx.doi.org/10.21014/10.21014/tc4-arc-2023.011.

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Birolo, Leila, Manuela Rossi, Miriam Alberico, et al. "Inorganic, organic and biochemical characterization of wall paintings from a Roman domus." In 2023 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. IMEKO, 2023. http://dx.doi.org/10.21014/tc4-arc-2023.011.

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Rohani, Neda, Johanna Salvant, Sara Bahaadini, Oliver Cossairt, Marc Walton, and Aggelos Katsaggelos. "Automatic pigment identification on roman Egyptian paintings by using sparse modeling of hyperspectral images." In 2016 24th European Signal Processing Conference (EUSIPCO). IEEE, 2016. http://dx.doi.org/10.1109/eusipco.2016.7760621.

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Reports on the topic "Roman painting"

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Seamans, Thomas, and Allen Gosser. Bird dispersal techniques. U.S. Department of Agriculture, Animal and Plant Health Inspection Service, 2016. http://dx.doi.org/10.32747/2016.7207730.ws.

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Conflicts between humans and birds likely have existed since agricultural practices began. Paintings from ancient Greek, Egyptian, and Roman civilizations depict birds attacking crops. In Great Britain, recording of efforts at reducing bird damage began in the 1400s, with books on bird control written in the 1600s. Even so, the problem persists. Avian damage to crops remains an issue today, but we also are concerned with damage to homes, businesses, and aircraft, and the possibility of disease transmission from birds to humans or livestock. Bird dispersal techniques are a vital part of safely

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