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Quis Deum, The plastic expression of political and religious ideologies in Rome.
SAURON Gilles.

Quis Deum, The plastic expression of political and religious ideologies in Rome.

French School of Rome
€25,00 €0,00
N° d'inventaire 25290
Format 15 x 21
Détails 735 p., some black and white plates, paperback.
Publication Rome, 2022
Etat Nine
ISBN 9782728315307
The work focuses on public and private Roman decorations and in particular on the relationships they maintained between them during the period of the "Roman revolution". After examining the new semantization of architecture in the Hellenistic period and the meaning of the new decorative themes linked to it, the author offers new analyses of the monumental ensembles built in Rome at the end of the Republic and then in the Augustan era, as well as on contemporary private decorations, in particular concerning the meaning of the "second Pompeian style" and the emergence of the "third style". For both the end of the Republican period and the Augustan period, the central role played by the theater is emphasized. The intervention of writers in this vast renewal of forms is constantly highlighted (Cicero, Varro, Virgil, among others), and the work concludes with a reflection on Roman art and especially its taste for enigmatic (in the private domain) or polysemic (in the public domain) decorations.
The work focuses on public and private Roman decorations and in particular on the relationships they maintained between them during the period of the "Roman revolution". After examining the new semantization of architecture in the Hellenistic period and the meaning of the new decorative themes linked to it, the author offers new analyses of the monumental ensembles built in Rome at the end of the Republic and then in the Augustan era, as well as on contemporary private decorations, in particular concerning the meaning of the "second Pompeian style" and the emergence of the "third style". For both the end of the Republican period and the Augustan period, the central role played by the theater is emphasized. The intervention of writers in this vast renewal of forms is constantly highlighted (Cicero, Varro, Virgil, among others), and the work concludes with a reflection on Roman art and especially its taste for enigmatic (in the private domain) or polysemic (in the public domain) decorations.