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Cambridge University Press 978-1-108-42012-9 — Painting, Ethics, and Aesthetics in Rome Nathaniel B

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Cambridge University Press 978-1-108-42012-9 — Painting, Ethics, and Aesthetics in Rome Nathaniel B Cambridge University Press 978-1-108-42012-9 — Painting, Ethics, and Aesthetics in Rome Nathaniel B. Jones Index More Information Index Achilles, 12, 57, 60, 81, 83, 103, 173, 174, Apelles, 20, 21, 120, 125, 157, 193, 195, 216, 175, 190 224, 226 shield of, 173–175 Aphrodite, 109, 207, 213, 232, 233 Achilles Painter, 211, 212, 213 Aphrodite Anadyomene, 113, 119, 129, 130, Actaeon, 177, 178 157, 193 Actium, Battle of, 110, 117 Apollodoros of Athens, 18 Aeneas, 101, 102, 103, 104, 190, 224 Apulian red-figure painting, 60–62, 171 Aeneid (Vergil), 29 Arcesilaus, 126 aesthetic(s) Archaic Style, 57 autonomy of, 48 Archdukes Albert and Isabella in a Cabinet of dual deployment of, 48, 49–50 Curiosities, The,57 judgment, works of art, 47 archives, written vs. material, 25 of art consumption, 135–136 Ardea, 18, 19, 20 text, 49 Arellius, 20 value of art, 113 Argus, 139, 142, 182, 183, 185, 188 Agamben, Giorgio, 196 Ariadne, 199, 214 Agatharchus of Samos, 159, 160 Aristotle Agrippa, Marcus Vipsanius, 118, 149, dual nature of pictures, 154 191, 195 logic, paradigmatic, 196 Ajax, 57, 118, 119 painted panels and memories, comparison, Alexander the Great, 119, 224 152–153 Alexandria to metaxu in De Anima, 145–146 lighthouse of, 110 art painters’ workshop from, 109 history of, 22–26 Alexandrian progression of styles, 222 architecture and paintings, influence on Roman conception of, 229 Roman paintings, 111 Artemis. See Diana painters, 110, 129 artistic tombs, 169 culture, ancient, 195 Alexandros the Athenian (Knucklebones fiction, 47, 63 Players), 22, 23, 72, 85 media, 144, 157 Alma Tadema, Lawrence, 39 medium of painting, 145 anachronism, 195, 196, 197, 204, 229 motifs, 111 Andromeda, 185, 186, 188, 189 production, 9, 24, 48, 59, 197, 204 aniconic markers, 106, 108, 109 representation, 140, 173 aniconism, 108, 109 style, periods, 222 See also style, artistic Anthony, 101, 117 artistic value, paintings of paintings, 4 Antichità di Ercolano esposte, 16, 17 artwork, conception of publication of Herculaneum paintings, 16 art history, 7 Antikythera, 218 central figurative scenes, 88 Mechanism, 219 Farnesina murals, 227 Antiochus Galbinius, 21 modern, 56 Antiphilos of Alexandria, 120 of paintings (tableau),55 Antony, Mark, 117, 118 paintings, 5 283 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42012-9 — Painting, Ethics, and Aesthetics in Rome Nathaniel B. Jones Index More Information 284 Index Asclepius, 216 Classical Greek vases, 62–64 Athena, 118, 224 classical style, early, 192 Athenaeus, 126, 217 Claudius, 195, 225, 226 Athens Cleopatra and Caesar, 111 ornaments of, 114 collections Stoa Poikile, 112 of art, 216, 217 atmosphere at the Farnesina, 227 immaterial, 140 at Forum of Augustus, 226 in central landscapes, 148 of poetry, 217 physical presence of, 147 structure of, 217 surrounding figures, 143 of styles, assemblage, 229 atomism, Democritean, 146 temporal manipulations, 221–222 atomist theory of vision, 146, 147 coloristic technique, Hellenistic period, atomistic philosophy, 32 208, 222 atomos, concept of, 32 color, uses of and light, 213 Baia, 192 as medium, 145 Baumgarten, Alexander, 48 as picture frames, 34 Bergmann, Bettina, 224 black (Black Room), 148–149 Berlin Foundry Cup, 57–60 white, 140–143, 148, 169 black-figure technique, 57 conceit Bolter, Jay, 138 architectural, 112, 148 Boscoreale, Villa of P. Fannius Synistor, 41, 54, at Farnesina murals, 215, 234 77, 128, 141, 158 in Herodium paintings, 134 Boscotrecase, Augustan Villa, 42, 43, 148, 149, light-source as, 152 190, 191 of plane of representation, 52 pictorial, 91 Caere, 18, 19 representation of representation, 1 Caesar, Julius Second Style, 81, 141, 222 cult status of, 65 conquest, Greek art in Rome, 29 death of, 101 convergences, perspectival, 158, 159, 162 Forum of, 126, 129, 224 copy painted panels, public influence to, 118 criticism (recovery of lost), 108 Caligula, 18, 19, 110, 193 discourse of, 182 Calleixenus of Rhodes, 217 of Greek paintings, 7, 179 Cameo, 65, 66 investigation of Roman, 180 canon, literary and artistic, 26, 27, 30, 165 works of art, reproduction of, 180 See also Carettoni, Gianfilippo, 98 House of Livia; original Cassius Dio. See Dio Cassius Corinth, 114, 119, 122, 222 Cato the Elder (the Censor), 114, 115, 116, Cretan Cycle, 198, 199, 203 124, 135 Cupid. See Eros Catullus, 31 Cybele, cult of, 108 Catulus, Quintus Lutatius, 95 celluloid, 233 Daedalus, 43, 84, 198, 200 drawing of Aphrodite and Eros on, 232, 234 Damophilos, 21 Cestius, Gaius, 130, 131, 150 decor, 32, 227 Choephoroi Painter, 187 Delos, 73, 111, 218 Christian view of art, 194 Delphi, 15 Cicero, Marcus Tullius Demetrios (painter), 21, 110 on his art collections, 125, 129 Democritus, 146, 159, 160 on artworks in Rome through conquest, 223 Derrida, Jacques, 47 on Lucullus, 126 paradox of the frame, 48, 50 on immediacy of vision, 145 Diana, 107, 108, 177, 178, 182 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42012-9 — Painting, Ethics, and Aesthetics in Rome Nathaniel B. Jones Index More Information Index 285 Digest of Justinian, 87 content and format of, 132 Dio Cassius, 121, 124 as an exemplary paradigm, 197 Dionysios (painter), 21 logic of super-genre, 133 Dionysus and satyr, painting of, 52–54 objects of art history, 179 disruption, of fiction and painting, 5, 55, 207 political aspect, 135 See also doubling and disruption super-genre, 132–134 Dorotheus, 193, 195 and wall paintings, 67, 88 doubling, 36, 55, 92 See also disruption; figural paintings, 67 doubling and disruption First Style, 41, 42, 152 doubling and disruption, 35, 37, 132, 164 Forum of Augustus, 224–226 See also disruption; doubling Hall of the Colossus, 225 drama, Roman, 165 paintings, political message of, 225 dramatic masks, 12, 63, 81, 99, 206, 214 Fourth Style Drerup, Heinrich, 158, 159 in Campania, 42 materiality, inconsistence with, 77 Edict of Diocletian on Maximum Prices, 87, 129 mythological paintings, 201 Edwards, Catherine, 96, 165 wall paintings, 43, 87, 173, 198 Egypt and Rome, cultural ties. See Rome and frame, enclosed in (peplaisiōmenos), 80 Egypt, cultural ties frames and framing Egyptiana, 109–110 concept of, 17–18 Elsner, Jaś, 44, 110, 155, 195, 214 Derrida, Jacques on, 47–48 embedding, 4, 47, 62, 86–87, 173 Harries, Karsten on, 47 encaustic, 21, 60 importance of, 6, 16 Encolpius, 216 paradox of the frame, 91–92 encyclopedism, 223 frameworks, spatial depth, 52 Endoios, 224 frescoes. See murals Engemann, Josef, 161 fresco techniques, 87, 228 Ennius, 30, 165 Fruit Gallery. See oporotheca ensembles Furtwängler, Adolf, 180 architectural, 88, 158 decorative, 40 Gaifman, Milette, 108 of fictive paintings, 7, 179, 197, 200, 204 Galatea, 182, 184, 189, 190, 191 fresco, 16 gaze, 163, 173, 201 at the House of Pompeii, 200–202 Gee, Regina, 44 mural, 4, 10 genre. See fictive panels Epicurean philosophy, 32 German Archaeological Institute, line drawing Eros, 3, 182, 189, 190, 193, 201, 232 of Farnesina, 233 ethics, of art, 94 Gnosis, 213 value of, 113 Gombrich, Ernst, 153 See also seeing-as; Etruscan, 21 seeing-in Exekias, 57, 58 Gordon, Richard, 26 exemplarity, 179, 196, 222 Gorgasos, 21 Grau, Oliver, 155 Fabius Pictor, 20 Greco-Roman art, history of ancient, Famulus, 20, 25 9–10 Farnesina. See Villa of Farnesina Greek art Feeney, Dennis, 30–31, 221 classical, 24 fictio,34–35 desirable and censurable, 125 fiction, dual valences of, 35–38 Roman reception of, 29 fictive, definition, 35 transformation in Rome of, 33 fictive paintings, 54 Greek panel paintings. See Italic (Roman) wall fictive panels paintings aspects, manipulation of, 179 Greenberg, Clement, 230 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42012-9 — Painting, Ethics, and Aesthetics in Rome Nathaniel B. Jones Index More Information 286 Index Gruen, Erich, 27, 114 as private space, 96 Grusin, Richard, remediation, 138 social significance of, 94–97 gymnasium, 15, 220 Hutchinson, Gregory, 25, 132 hypermediacy, 138, 143 Hadrian, 169, 195 Hallett, Christopher, 27 Iaia of Cyzicus, 21, 25 Harries, Karsten, 47 Icarus, 198, 199, 200 Hecate, 107 ichnographia, 159 Helen, 18, 110, 112, 201, 203 iconography, 15, 74, 109, 113, 194 Hellenistic Mediterranean, circulation of Egyptian, 109 painting within, 89 Ideal Sculpture. See mythological sculpture Hellenization, 27 Iliad, 60 of Roman elite, 31 Iliupersis Painter, 169, 171 Hephaistos, 60, 173, 175 Illusion and immersion, techniques of, 7, 137 Hera, 142, 182, 187 images of images, on coins, 64 Herakles, 60, 61, 62, 118, 126 imitation Herculaneum of Classical Greece, 180 discovery and excavation of, 11, 38 paradigm, model for, 195 paintings from palestra of, 5, 12, 13, 14, 22, immateriality, white color, 140 24, 37–38 immediacy Winckelmann’s approach to, 11–14, 33–34, enargeia, 145 39–40 of exemplarity, 196 Samnite House, 40, 41 and hypermediacy, dual logic of, 138, 143 Villa of the Papyri, 50–52, 75 limits of, 178 Hercules. See Herakles and remediation, 155 Hermes, 139, 142, 182, 185, 221 of visual representation, 175 Herod, 134 immersion Herodas, fourth mimiamb, 216 asymmetrical perspective, 161 Herodium, 133, 134, 135 illusion of, 155–157 Herodotus, 108 and isolation, 229 Heslin, Peter, 103 murals, potential for, 138 Hippolytus, 201 Roman mural painters, technology of History of the Art of Antiquity (Winckelmann), illusion, 155 5–6, 11, 16, 24, 34, 39 Second Style perspective, 207 in comparison to Description of Greece impact of Greece
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