Paintings and stuccos from the Roman period. Toichographological studies.
Ausonius| N° d'inventaire | 23546 |
| Format | 21 x 29 |
| Détails | 460 p., paperback. |
| Publication | Bordeaux, 2021 |
| Etat | Nine |
| ISBN | 9782356133564 |
This eighth volume of Pictor constitutes the proceedings of the 30th annual AFPMA conference, held at the Arles Antique Departmental Museum, at the invitation of the Bouches-du-Rhône Departmental Council and the city of Arles. It leads the reader through current archaeological research on the painted and stuccoed heritage of Roman Antiquity. Through the articles, the specialist, the amateur, the curious... will discover the contributions of toichographology to the knowledge of these wall decorations, and the buildings that house them; to the perception of the implementation techniques and the gestures of the artisans who made them; to the understanding of ornamental compositions, ornamental motifs and their meaning; and more broadly to the history of places and mentalities
Thirty-three contributions illustrate "in full color" this research and the interdisciplinarity of the teams that carry it out. The current events offer a journey spanning several centuries through Gaul and the western provinces of the empire, from Arles and the spectacular discoveries at the Verrerie site; Murviel-lès-Montpellier, Martigues, Panossas, Bordeaux, Bourges and Annecy-le-Vieux, with their settings often explained for the first time; beyond the Alps, Avenches, Kalnach, Orbe-Boscéaz; in Luxembourg, the rich villa of Schieren; Bilbilis in Spain, or Braga in Portugal.
Italy is widely represented by studies on emblematic sites such as Pompeii, Baiae or Rome, as well as on northern Italy - Modena, Rimini and the villae of Lake Garda - and Sicily.
The iconographic analysis of some painted representations allows us to better understand the meaning of images that are as complex as they are sometimes enigmatic: a raised arm holding a container in Metz, a painter at work in the basin of a sarcophagus in Kerch, and a woman painter on the wall of a Pompeian house, or even the treatment of the romantic encounter around the goddess Venus.
Some files are being re-examined from different angles. On the scale of the city of Lyon, an initial synthesis on the candelabra motif attempts to follow its evolution, while the study, until now very chaotic, but more than necessary, of the painted plasterwork of Villards-d'Héria should resume. In Pompeii, the garden paintings of the houses of Sallust and the Tragic Poet, completely erased since their excavation at the beginning of the 19th century, are being restored thanks to the meticulous study of archives, travelers' drawings and other sketches, and the comparison of the most tenuous clues.
Finally, at a time when images, data, etc. are being added to computerized databases, such as the Fabvlvs database, which have become essential research tools, the reader of Pictor 8 will always be able to immerse themselves in some novels from 19th and 20th century literature, in which Roman painting and painters are sometimes the heroes.
This eighth volume of Pictor constitutes the proceedings of the 30th annual AFPMA conference, held at the Arles Antique Departmental Museum, at the invitation of the Bouches-du-Rhône Departmental Council and the city of Arles. It leads the reader through current archaeological research on the painted and stuccoed heritage of Roman Antiquity. Through the articles, the specialist, the amateur, the curious... will discover the contributions of toichographology to the knowledge of these wall decorations, and the buildings that house them; to the perception of the implementation techniques and the gestures of the artisans who made them; to the understanding of ornamental compositions, ornamental motifs and their meaning; and more broadly to the history of places and mentalities
Thirty-three contributions illustrate "in full color" this research and the interdisciplinarity of the teams that carry it out. The current events offer a journey spanning several centuries through Gaul and the western provinces of the empire, from Arles and the spectacular discoveries at the Verrerie site; Murviel-lès-Montpellier, Martigues, Panossas, Bordeaux, Bourges and Annecy-le-Vieux, with their settings often explained for the first time; beyond the Alps, Avenches, Kalnach, Orbe-Boscéaz; in Luxembourg, the rich villa of Schieren; Bilbilis in Spain, or Braga in Portugal.
Italy is widely represented by studies on emblematic sites such as Pompeii, Baiae or Rome, as well as on northern Italy - Modena, Rimini and the villae of Lake Garda - and Sicily.
The iconographic analysis of some painted representations allows us to better understand the meaning of images that are as complex as they are sometimes enigmatic: a raised arm holding a container in Metz, a painter at work in the basin of a sarcophagus in Kerch, and a woman painter on the wall of a Pompeian house, or even the treatment of the romantic encounter around the goddess Venus.
Some files are being re-examined from different angles. On the scale of the city of Lyon, an initial synthesis on the candelabra motif attempts to follow its evolution, while the study, until now very chaotic, but more than necessary, of the painted plasterwork of Villards-d'Héria should resume. In Pompeii, the garden paintings of the houses of Sallust and the Tragic Poet, completely erased since their excavation at the beginning of the 19th century, are being restored thanks to the meticulous study of archives, travelers' drawings and other sketches, and the comparison of the most tenuous clues.
Finally, at a time when images, data, etc. are being added to computerized databases, such as the Fabvlvs database, which have become essential research tools, the reader of Pictor 8 will always be able to immerse themselves in some novels from 19th and 20th century literature, in which Roman painting and painters are sometimes the heroes.