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Relevant bibliographies by topics / Roman Wall-Painting

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Academic literature on the topic 'Roman Wall-Painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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Journal articles on the topic "Roman Wall-Painting"

1

Tybout, Rolf A. "Roman wall-painting and social significance." Journal of Roman Archaeology 14 (2001): 33–56. http://dx.doi.org/10.1017/s1047759400019814.

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During the last two decades a spate of publications forcefully brought to our attention the importance of the Roman house in the socio-political life of the élite in the late Republic and early Imperial period, both in Rome and in “provincial” towns like Pompeii, the metropolitan center of power setting the patterns for the lifestyle of local grandees. The focus is on the rôle of architecture in shaping the spatial, and thereby social, articulation of the domus. Literary sources concerning Roman domestic life and known for a long time are scrutinized for the light they might shed on the archae

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FILIP, DUMITRITA DANIELA, MIHAI GLIGOR, ILIE ALEXANDRU LASCU, et al. "Non-invasive techniques for characterizing the pigments applied on wall houses from Roman Apulum (Romania)." Romanian Reports in Physics 77, no. 2 (2025): 803. https://doi.org/10.59277/romrepphys.2025.77.803.

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In the past 136 years, numerous archaeological finds have enriched the history of Roman Apulum and Roman Province Dacia with new data. Various pieces were described and analyzed from a stylistic point of view, but they were not investigated in terms of non-invasive analytical techniques to elucidate the painting techniques and the materials used. In this context, this study aims to identify and characterize the pigments used by Roman painters/craftsmen in decorating houses using Apulum and the painting technique. To achieve this goal, fragments of Roman wall paintings recently discovered in th

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Piovesan, Rebecca, Lara Maritan, Martina Amatucci, Luca Nodari, and Jacques Neguer. "Wall painting pigments of Roman Empire age from Syria Palestina province (Israel)." European Journal of Mineralogy 28, no. 2 (2016): 435–48. http://dx.doi.org/10.1127/ejm/2015/0027-2500.

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Small. "Circling Round Vitruvius, Linear Perspective, and the Design of Roman Wall Painting." Arts 8, no. 3 (2019): 118. http://dx.doi.org/10.3390/arts8030118.

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Many scholars believe that linear perspective existed in classical antiquity, but a fresh examination of two key texts in Vitruvius shows that 1.2.2 is about modularity and symmetria, while 7.Pr.11 describes shading (skiagraphia). Moreover, these new interpretations are firmly based on the classical understanding of optics and the history of painting (e.g., Pliny the Elder). A third text (Philostratus, Imagines 1.4.2) suggests that the design of Roman wall painting depends on concentric circles. Philostratus’ system is then used to successfully make facsimiles of five walls, representing Style

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Philip Stinson. "Perspective Systems in Roman Second Style Wall Painting." American Journal of Archaeology 115, no. 3 (2011): 403. http://dx.doi.org/10.3764/aja.115.3.0403.

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Allen, Ruth. "‘Eye-Like Radiance’: The Depiction of Gemstones in Roman Wall Painting." Arts 8, no. 2 (2019): 60. http://dx.doi.org/10.3390/arts8020060.

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The study of ornament in Greek and Roman art has been the focus of increasing scholarly interest over the last decade, with many publications shedding new light on the dynamics of ornatus in antiquity, and the discourses that shaped and situated it. Through an analysis of the depiction of gemstones in Roman wall painting, this article demonstrates the importance of ornamental details both to the mechanics of two-dimensional representation and to the interpretation of the images they adorned. I argue that by evoking the material qualities and sensual pleasures of real precious stones, painted g

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Hallett, C. H. "Response to R. Tybout “Roman wall-painting and social significance”." Journal of Roman Archaeology 14 (2001): 414–16. http://dx.doi.org/10.1017/s1047759400020043.

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In his article in this issue, R. Tybout has some harsh words (38-39) for an article by S. Yerkes published in JRA 13. T.'s reaction seems to involve not so much a scholarly disagreement as a major misunderstanding of Yerkes' paper. I would like to offer a brief corrective to his comments.T. seems under the impression that the identification of Vitruvius' monstra is the main — or only — point of Yerkes' essay. This is probably because of the title. The paper is a radically reduced presentation of the argument of the author's master's thesis which was entitled “Neo-Attic motifs in Roman painting

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Duran, A., L. A. Perez-Maqueda, J. Poyato, and J. L. Perez-Rodriguez. "A thermal study approach to roman age wall painting mortars." Journal of Thermal Analysis and Calorimetry 99, no. 3 (2010): 803–9. http://dx.doi.org/10.1007/s10973-009-0667-2.

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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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Tybout, Rolf. "Response to the comments of B. Bergmann and C. H. Hallett (JRA 14, 56-57 and 414-16)." Journal of Roman Archaeology 15 (2002): 346–48. http://dx.doi.org/10.1017/s1047759400014033.

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My article on Roman wall-painting and social significance (JRA 14, 33-56) provoked two immediate reactions. I would like to show that both scholars misinterpreted my argument and intentions.Bergmarm's views are compatible in all respects with mine expressed in my article. In two introductory sections (33-42) I drew attention to some major misunderstandings and misrepresentations of the chronological model of Roman wall-painting developed by H. G. Beyen by scholars who have recently focused on paintings in their spatial and social context. B. agrees “that we lose much by neglecting the contribu

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Dissertations / Theses on the topic "Roman Wall-Painting"

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

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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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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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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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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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Mulliez-Tramond, Maud. "Matière et couleur dans la peinture pariétale romaine de la fin de la République." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100018.

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L’art décoratif qui émerge à la fin de la République romaine sous la forme du trompe-l’œil architectural est fascinant par la technicité nouvellement éprouvée pour représenter un espace tridimensionnel. La perspective y est une composante majeure mais elle est assistée par d’autres innovations tout aussi essentielles. La connaissance de l’impact lumineux sur la matière et la capacité à suggérer les volumes contribuent efficacement aux exigences de la mimesis. D’autres usages picturaux restent mystérieux et leur fin se dérobe à nos regards trop jeunes de deux millénaires.La diversité et la rich

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Tessariol, Myriam. "La diffusion des schémas décoratifs de la peinture murale romaine chez les Bituriges Vivisques." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20117.

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Le contexte historique d'implantation du peuple des Bituriges Vivisques sur les pourtours de l'estuaire de la Garonne est relativement tardif, au lendemain de la conquête romaine, et pose de nombreuses questions quant à la réception de la culture romaine au sein d'une cité reconnue pour son identité culturelle forte. L'agglomération antique de Bordeaux, chef-lieu de la cité des Bituriges Vivisques, offre une grande diversité de décors peints fragmentaires entre le Ier siècle et le Ve siècle P.C. L'introduction de cet art et de modes ornementales typiquement italiennes dans la cité interroge al

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Books on the topic "Roman Wall-Painting"

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

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International Congress on Ancient Wall Painting (5th 1992 Amsterdam, Netherlands). Functional and spatial analysis of wall painting: Proceedings of the Fifth International Congress on Ancient Wall Painting, Amsterdam, 8-12 September 1992. Stichting BABESCH, 1993.

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International Workshop on Roman Wall Painting (1996 Fribourg, Switzerland). Roman wall painting: Materials, techniques, analysis and conservation : proceedings of the International Workshop, Fribourg, 7-9 March 1996. Edited by Béarat Hamdallah, Université de Fribourg. Institut de minéralogie et de pétrographie., and Université de Lausanne. Institut d'archéologie et d'histoire ancienne. Institute of Mineralogy and Petrography, 1997.

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4

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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Talbot, Audrey H. Venus and Mars in the wall paintings of Pompeii. University College Dublin, 1995.

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Romano-British wall painting. Shire Publications, 1985.

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The splendor of Roman wall painting. J. Paul Getty Museum, 2009.

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9

Wall Painting in Pompeii: Plaster, Stucco, Paint. L'Erma di Bretschneider, 2018.

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10

Greek and Roman Methods of Painting: Some Comments on the Statements Made by Pliny and Vitruvius about Wall and Panel Painting. University of Cambridge ESOL Examinations, 2014.

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Book chapters on the topic "Roman Wall-Painting"

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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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Hodne, Lasse. "Unit 2 Lesson: Portraits as Faces." In Neuroaesthetics. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-42323-9_6.

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AbstractPortraits have been a part of human civilization for thousands of years. According to the famous Roman historian and naturalist, Pliny the Elder (AD 23/24–79), the first painting ever made, was a portrait. It was presumably invented by the daughter of a man called Butades, a potter from Sicyon in Greece. To preserve the memory of her beloved who was going away for a while, she decided to trace the profile of his head from the shadow cast on a wall.

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Baragona, Anthony J., Pavla Bauerová, and Alexandra S. Rodler. "Imperial Styles, Frontier Solutions: Roman Wall Painting Technology in the Province of Noricum." In Conservation and Restoration of Historic Mortars and Masonry Structures. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-31472-8_1.

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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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Leach, Eleanor Winsor. "Mythography and Roman Wall Painting." In The Oxford Handbook of Greek and Roman Mythography. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190648312.013.36.

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Abstract In the first sustained study how Roman wall painting intersects with mythography, this essay explores how both the depiction of myth on walls and the interpretative recreation of mythical narratives by viewers reflect a mythographical mindset. In a careful selection of case studies, the author considers: episodic narratives (Odyssey frieze from the Esquiline); variations on a theme (Actaeon in Casa del Frutteto and Casa di Epidius Rufus); synoptic mythography (Dirce cycle in Casa di Giulio Polibio); and ensemble collections with thematic connections (Casa di Giasone, Casa dei Dioscuri

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"Ministers of Isiac Cults in Roman Wall Painting*." In Individuals and Materials in the Greco-Roman Cults of Isis (SET). BRILL, 2018. http://dx.doi.org/10.1163/9789004381346_014.

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"4. Ekphrasis and the Gaze From Roman Poetry to Domestic Wall Painting." In Roman Eyes. Princeton University Press, 2007. http://dx.doi.org/10.1515/9780691240244-006.

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"The Landscape and Nature of the Cyclops in Campanian Wall-Painting." In The Impact of the Roman Empire on Landscapes. BRILL, 2021. http://dx.doi.org/10.1163/9789004411449_018.

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Conference papers on the topic "Roman Wall-Painting"

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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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Campos, João. "Round Bastions and Pentagonal Bulwarks: Castel Nuovo in the Album of Francisco de Holanda (1538-1540)." In FORTMED2025 - Defensive Architecture of the Mediterranean. edUPV. Editorial Universitat Politècnica de València, 2025. https://doi.org/10.4995/fortmed2025.2025.20227.

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The Codex Álbum dos Desenhos das Antigualhas / Album of Drawings of Antigualhas, by Francisco de Holanda, is located in Escorial / Madrid, containing 113 drawn pages (some polychrome) made in situ during his trip to Italy (1538-1540). The Author published later two important treatises (1548): Diálogos em Roma / Dialogues in Rome and Da Pintura Antiga / On Antique Painting. Still a result of the fascination caused by the experience carried out, he wrote and drew, among other works, Da Ciência do Desenho / About the Science of Drawing (1571), Da Fábrica que Falece à Cidade de Lisboa / On the Con

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