Women and Visual Replication in Roman Imperial Art and CultureWhy did Roman portrait statues, famed for their individuality, repeatedly employ the same body forms? The complex issue of the Roman copying of Greek 'originals' has so far been studied primarily from a formal and aesthetic viewpoint. Jennifer Trimble takes a broader perspective, considering archaeological, social historical and economic factors, and examines how these statues were made, bought and seen. To understand how Roman visual replication worked, Trimble focuses on the 'Large Herculaneum Woman' statue type, a draped female body particularly common in the second century CE and surviving in about two hundred examples, to assess how sameness helped to communicate a woman's social identity. She demonstrates how visual replication in the Roman Empire thus emerged as a means of constructing social power and articulating dynamic tensions between empire and individual localities. |
Contents
Introduction | 1 |
1 Origins | 12 |
2 Production | 64 |
3 Replication | 104 |
4 Portraiture | 150 |
5 Space | 206 |
6 Difference | 260 |
7 Endings | 308 |
Dating the statues | 351 |
Catalogue | 360 |
| 457 | |
| 483 | |
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Women and Visual Replication in Roman Imperial Art and Culture Jennifer Trimble No preview available - 2016 |
Common terms and phrases
Alexandridis 2004 Antalya Antonine Aphrodisias architectural attributes Augustan autopsy Bibliography body type Buthrotum Butrint carved Chapter civic context cultural Cyrenaica Daehner DAIR damage Date display drapery elite Empire evidence example facial features Faustina Minor female figure Findspot finished folds funerary Greek east Hadrianic hairstyle head was integral Hellenistic Heraion Herculaneum Woman body Herculaneum Woman portrait Herculaneum Woman replicas Herculaneum Woman statues Herculaneum Woman type Herodes Atticus honorific honorific portrait Imperial period individual inscriptions installed Kruse Large Herculaneum Woman Leptis Magna Lost head lower legs male mantle monumental Noviodunum numbers Nymphaeum Olympia Panticapaion Perge Plancia Magna plinth portrait head portraiture production quarries relationship replication representation Roman Rome sarcophagi Sarmizegetusa sculptural second century Severan Singidunum Small Herculaneum Woman social space statuary statue type stylistic analysis third century Trajanic Trimble tumulus tunic type’s veiled viewers visual White marble Woman portrait statue women workshops