The Power of Images in the Age of Augustus
"Art and architecture are mirrors of a society. They reflect the state of its values, especially in times of crisis or transition." Upon this premise Paul Zanker builds an interpretation of Augustan art as a visual language that both expressed and furthered the transformation of Roman society during the rule of Augustus Caesar. The Power of Images in the Age of Augustus illustrates how the establishment of monarchy under Augustus Caesar led to the creation of a new system of visual imagery that reflects the consciousness of this transitional age.
Conflict and Contradiction in the Imagery of the Dying Republic
Rival Images Octavian Antony and the Struggle for Sole Power
The Great Turning Point Intimations of a New Imperial Style
The Augustan Program of Cultural Renewal
The Mythical Foundations of the New Rome
Form and Meaning of the New Mythology
The New Imagery in the Private Sphere
Actium Aeneas aesthetic Agrippa altar Antony Apollo Ara Pacis Archaic architectural artistic Augustan Augustus's Battle of Actium building Caesar celebrated century B.C. Classical coins corona civica cuirassed cult statue culture decoration dedicated Denarius depicted Dionysus divine Early Imperial emperor Empire example festivals figure Forum of Augustus freedmen frieze Gaius Giard goddess gods Greek Hellenistic Hölscher honor honorific imagery imperial cult imperial house Iulius Julius Caesar Jupiter Kienast Lares Livia marble Mars Ultor monument motif Munich Museo Museum inv Museum photo mythological Niggeler Octavian official Palatine Parthians pietas political Pompeii Porticus Porticus Octaviae portrait princeps princes relief religious ritual Roma Roman Rome Römische sanctuary scene sculpture Senate Sextus Pompey style Suetonius symbols Temple of Apollo Temple of Caesar Temple of Mars theater Tiberius tomb traditional tripod Venus victory viewer villa visual wall painting wreath Zanker
Page 367 - CC VERMEULE, Roman imperial art in Greece and Asia Minor, Cambridge, Mass., 1968, p.
Page 3 - My interest is instead in the totality of images that a contemporary would have experienced. This includes not only "works of art," buildings, and poetic imagery, but also religious ritual, clothing, state ceremony, the emperor's conduct and forms of social intercourse, insofar as these created a visual impression.
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