SAURON Gilles.
Allegorical painting in Pompeii. Cicero's perspective.
Picard
Regular price
€59,00
| N° d'inventaire | 11606 |
| Format | 24 x 30 |
| Détails | 220 p., 132 ill., color and B/W, paperback with flaps. |
| Publication | Paris, 2007 |
| Etat | Nine |
| ISBN | 9782708407671 |
Allegorical painting appeared in the interior decorations of Roman houses in the late 80s BC.
It disappeared some forty years later with the generation that had made it fashionable, in the political upheavals that followed the assassination of Caesar on the Ides of March 44 BC. The sumptuous compositions representing partly imaginary architectures and devoid of any human presence were piously preserved by the successive owners of the residences, no doubt due to the quality of those who had commissioned them, until the eruption of Vesuvius preserved them in turn and allowed us to admire them.
This decorative fashion is followed here, from its probable origins on the Palatine, in the home of one of the leaders of the conservative faction of the senatorial aristocracy, to its final phase in villas in the wealthy residential area of the Gulf of Naples. The meaning of these paintings is analyzed in detail, through an attempt to rediscover the vision of the owners who commissioned them. The aim is to reconstruct in all its aspects the memory of these figures as well as their habits of visual perception.
Among the group of young aristocrats determined to resist the enterprises of the populares , and who had sought among the philosophers of Athens reasons to believe in their destiny, stands out the great figure of Cicero, who had a residence in the territory of Pompeii. It is one of the ambitions of this work to try to revive something of what was Cicero's outlook.
It disappeared some forty years later with the generation that had made it fashionable, in the political upheavals that followed the assassination of Caesar on the Ides of March 44 BC. The sumptuous compositions representing partly imaginary architectures and devoid of any human presence were piously preserved by the successive owners of the residences, no doubt due to the quality of those who had commissioned them, until the eruption of Vesuvius preserved them in turn and allowed us to admire them.
This decorative fashion is followed here, from its probable origins on the Palatine, in the home of one of the leaders of the conservative faction of the senatorial aristocracy, to its final phase in villas in the wealthy residential area of the Gulf of Naples. The meaning of these paintings is analyzed in detail, through an attempt to rediscover the vision of the owners who commissioned them. The aim is to reconstruct in all its aspects the memory of these figures as well as their habits of visual perception.
Among the group of young aristocrats determined to resist the enterprises of the populares , and who had sought among the philosophers of Athens reasons to believe in their destiny, stands out the great figure of Cicero, who had a residence in the territory of Pompeii. It is one of the ambitions of this work to try to revive something of what was Cicero's outlook.
Allegorical painting appeared in the interior decorations of Roman houses in the late 80s BC.
It disappeared some forty years later with the generation that had made it fashionable, in the political upheavals that followed the assassination of Caesar on the Ides of March 44 BC. The sumptuous compositions representing partly imaginary architectures and devoid of any human presence were piously preserved by the successive owners of the residences, no doubt due to the quality of those who had commissioned them, until the eruption of Vesuvius preserved them in turn and allowed us to admire them.
This decorative fashion is followed here, from its probable origins on the Palatine, in the home of one of the leaders of the conservative faction of the senatorial aristocracy, to its final phase in villas in the wealthy residential area of the Gulf of Naples. The meaning of these paintings is analyzed in detail, through an attempt to rediscover the vision of the owners who commissioned them. The aim is to reconstruct in all its aspects the memory of these figures as well as their habits of visual perception.
Among the group of young aristocrats determined to resist the enterprises of the populares , and who had sought among the philosophers of Athens reasons to believe in their destiny, stands out the great figure of Cicero, who had a residence in the territory of Pompeii. It is one of the ambitions of this work to try to revive something of what was Cicero's outlook.
It disappeared some forty years later with the generation that had made it fashionable, in the political upheavals that followed the assassination of Caesar on the Ides of March 44 BC. The sumptuous compositions representing partly imaginary architectures and devoid of any human presence were piously preserved by the successive owners of the residences, no doubt due to the quality of those who had commissioned them, until the eruption of Vesuvius preserved them in turn and allowed us to admire them.
This decorative fashion is followed here, from its probable origins on the Palatine, in the home of one of the leaders of the conservative faction of the senatorial aristocracy, to its final phase in villas in the wealthy residential area of the Gulf of Naples. The meaning of these paintings is analyzed in detail, through an attempt to rediscover the vision of the owners who commissioned them. The aim is to reconstruct in all its aspects the memory of these figures as well as their habits of visual perception.
Among the group of young aristocrats determined to resist the enterprises of the populares , and who had sought among the philosophers of Athens reasons to believe in their destiny, stands out the great figure of Cicero, who had a residence in the territory of Pompeii. It is one of the ambitions of this work to try to revive something of what was Cicero's outlook.