Eleanor Winsor Leach offers a new interpretation of Roman painting as found in domestic spaces of the elite classes of ancient Rome. Leach contends that the painted images reflect the codes of communication embedded in upper class life, such as the theatricality expected of those leading public lives, the self-conscious assimilation of Hellenistic culture among aristocrats, and their ambivalent attitudes towards luxury.
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Editorial Reviews
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"Leach, a leading scholar in Roman literature and art, has produced a superb study of the interrelationship of art and literature of the ancient Romans....Essential." Choice
"Relying on contemporary literary sources, and including 12 color plates and 212 black and white illustrations, the book also offers a fresh perspective on the demography of Pompeii and the relationship between the colony and Rome as reflected in its wall painting." - Alumnae Bulletin
"this is a rich book, amply documented with good-quality black and white photographs and plans, and a small number of not-so-sharp color images. The full bibliography of both ancient and modern sources, as well as the rich photographic documentation, will be valuable to specialist and non-specialist alike." - Zografia Welch, Department of Classical Studies, University of Waterloo
"Relying on contemporary literary sources, and including 12 color plates and 212 black and white illustrations, the book also offers a fresh perspective on the demography of Pompeii and the relationship between the colony and Rome as reflected in its wall painting." - Alumnae Bulletin
"this is a rich book, amply documented with good-quality black and white photographs and plans, and a small number of not-so-sharp color images. The full bibliography of both ancient and modern sources, as well as the rich photographic documentation, will be valuable to specialist and non-specialist alike." - Zografia Welch, Department of Classical Studies, University of Waterloo
Book Description
In this study, Eleanor Winsor Leach offers a new interpretation of Roman painting as found in domestic spaces of the elite classes of ancient Rome. The painted images, Leach contends, reflect the codes of communication embedded in upper class life, such as the performative theatricality that was expected of those leading public lives, the self-conscious assimilation of Hellenistic culture among aristocrats, and the ambivalent attitudes towards luxury as a coveted sign of power and a symptom of ethical degeneracy.
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