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The study of Roman sculpture has been an essential part of the disciplines of Art History and Classics since the eighteenth century. Famous works like the Laocoon, the Arch of Titus, and the colossal portrait of Constantine are familiar to millions. Again and again, scholars have returned tosculpture to answer questions about Roman art, society, and history. Indeed, the field of Roman sculptural studies encompasses not only the full chronological range of the Roman world but also its expansive geography, and a variety of artistic media, formats, sizes, and functions. Exciting newtheories, methods, and approaches have transformed the specialized literature on the subject in recent decades.Rather than creating another chronological catalogue of representative examples from various periods, genres, and settings, The Oxford Handbook of Roman Sculpture synthesizes current best practices for studying this central medium of Roman art, situating it within the larger fields of Art History,Classical Archaeology, and Roman Studies. This comprehensive volume fills the gap between introductory textbooks and highly focused professional literature. The Oxford Handbook of Roman Sculpture conveniently presents new technical, scientific, literary, and theoretical approaches to the study ofRoman sculpture in one reference volume while simultaneously complementing textbooks and other publications that present well-known works in the corpus. The contributors to this volume address metropolitan and provincial material from the early republican period through late antiquity in an engagingand fresh style. Authoritative, innovative, and up-to-date, The Oxford Handbook of Roman Sculpture will remain an invaluable resource for years to come.… (más)
A recent addition to the handbook/companion industry, this book is a welcome contribution to English language scholarship on Roman art. The editors have brought together an interesting mix of American and European scholars, both junior and senior, in a volume whose scope—chronologically, geographically, thematically, and methodologically—is very wide-ranging. The text is divided into six thematic sections, with between five and eight essays in each, for a total of 41 chapters. There is something here for anyone interested in the study of Roman sculpture, and individual chapters would make good introductory reading for courses on Roman (and even Greek) art and archaeology, for both undergraduate and graduate students. Most (if not all) of the chapters summarize scholarship in languages other than English, a real benefit for students. The editors lay out their aims for the volume in the introduction, which is much more than just a chapter-by-chapter outline of its contents. Their goals are to outline current ‘best practices’ for, and new methods used in, the study of Roman sculpture, to situate its study within the broader fields of Art History, Classical Archaeology, and Roman Studies, to fill a much-needed gap between introductory textbooks (D.E.E. Kleiner’s Roman Sculpture is now almost 25 years old) and highly specialized scholarly literature, and to provide a ‘platform’ for further research. The editors and their authors have certainly met these goals in a well produced, clearly written, and interestingly organized volume.
The study of Roman sculpture has been an essential part of the disciplines of Art History and Classics since the eighteenth century. Famous works like the Laocoon, the Arch of Titus, and the colossal portrait of Constantine are familiar to millions. Again and again, scholars have returned tosculpture to answer questions about Roman art, society, and history. Indeed, the field of Roman sculptural studies encompasses not only the full chronological range of the Roman world but also its expansive geography, and a variety of artistic media, formats, sizes, and functions. Exciting newtheories, methods, and approaches have transformed the specialized literature on the subject in recent decades.Rather than creating another chronological catalogue of representative examples from various periods, genres, and settings, The Oxford Handbook of Roman Sculpture synthesizes current best practices for studying this central medium of Roman art, situating it within the larger fields of Art History,Classical Archaeology, and Roman Studies. This comprehensive volume fills the gap between introductory textbooks and highly focused professional literature. The Oxford Handbook of Roman Sculpture conveniently presents new technical, scientific, literary, and theoretical approaches to the study ofRoman sculpture in one reference volume while simultaneously complementing textbooks and other publications that present well-known works in the corpus. The contributors to this volume address metropolitan and provincial material from the early republican period through late antiquity in an engagingand fresh style. Authoritative, innovative, and up-to-date, The Oxford Handbook of Roman Sculpture will remain an invaluable resource for years to come.
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