Polychroma: The Meaning of Colors in Roman Sculpture.
Silvana| N° d'inventaire | 31543 |
| Format | 17 x 24 |
| Détails | 352 p., numerous color photographs, paperback. |
| Publication | Milan, 2024 |
| Etat | Nine |
| ISBN | 9788836656035 |
"History and Archaeology Library" Collection.
Long ignored, sometimes knowingly, since the idea of its presence went against the ideals of a white and pure ancient sculpture propagated post Winckelmann, the polychromy of classical and late sculpture and architecture has been the subject of important research programs for thirty years. Within this field of study, the book focuses on the peculiarity of Roman imperial polychromy and its late developments (first century BC – sixth century AD) to investigate the technical characteristics and the socio-cultural meaning of colors.
After an assessment of the studies on polychromy already carried out, this book presents the first results of the EU-MSCA-IF PolyCHRoMA project, which documented traces of colors not immediately visible (lost colors) through the physico-chemical analysis of a new corpus of sculptural and architectural elements from some major European and North African museums (Royal Museums of Art and History of Brussels, Royal Museum of Mariemont, Musée Départemental Arles antique, Musée Saint-Raymond de Toulouse, Museo Archeologico di Milano, Museo Nazionale e Museo Arcivescovile in Ravenna, Bardo National Museum and other Tunisian collections). The systematic chronological and contextual study of these traces, before time ensures the loss of colors, confirms that polychromy offers a new source for assessing the cultural meaning of color at the turn of the first millennium.
"History and Archaeology Library" Collection.
Long ignored, sometimes knowingly, since the idea of its presence went against the ideals of a white and pure ancient sculpture propagated post Winckelmann, the polychromy of classical and late sculpture and architecture has been the subject of important research programs for thirty years. Within this field of study, the book focuses on the peculiarity of Roman imperial polychromy and its late developments (first century BC – sixth century AD) to investigate the technical characteristics and the socio-cultural meaning of colors.
After an assessment of the studies on polychromy already carried out, this book presents the first results of the EU-MSCA-IF PolyCHRoMA project, which documented traces of colors not immediately visible (lost colors) through the physico-chemical analysis of a new corpus of sculptural and architectural elements from some major European and North African museums (Royal Museums of Art and History of Brussels, Royal Museum of Mariemont, Musée Départemental Arles antique, Musée Saint-Raymond de Toulouse, Museo Archeologico di Milano, Museo Nazionale e Museo Arcivescovile in Ravenna, Bardo National Museum and other Tunisian collections). The systematic chronological and contextual study of these traces, before time ensures the loss of colors, confirms that polychromy offers a new source for assessing the cultural meaning of color at the turn of the first millennium.