Plaster painting pompeii7/23/2023 Friezes and festoons are abandoned.ġ17338 - Traces of ceuleum, the light-blue colour of mineral origin, also know as Pompeian Blue or Alexandrian Frit, utilised for wall-paintings. The decoration becomes, so to speak, baroquesque: the houses are filled with stuccos and overloaded with ornamentation, usually in demonstration of the opulent state achieved by the resident families. It almost seems as if there was an attempt to extend the walls through the creation of imaginary spaces. Its characteristics recall the painting of the second period, but the composition becomes increasingly exaggerated and unreal. IV style: is known as "architectural illusionism" or "ornamental". The painting of the III style is also known as "Egyptianizing" in that the ornamentation often recalls ancient Egyptian motifs. The background becomes flat and is rendered with a single colour: the figures are embellished and the decorative elementsĪccentuated. It sees a return to a simpler style in terms of the layout and stroke. III style: is called "real painting" and belongs to the Ist century A.D. At its most advanced stage, glimpses of the countryside are painted between the imaginary buildings. The great cycle of the Mysteries in the villa of the same name belongs to this period. The result is an imaginary space with increasing or decreasing effects. It is known as architecture in perspective or simply architectural since, as well as faking marble facings, it reproduces colonnades, arches and buildings seen in perspective. II style: it lasted until the middle of the Ist century A.D. It is a simple and bare style of painting: through the use of plaster and colours in which black, yellow and red predominate, it tends to imitate marble panels. It was commonplace between the 2nd century and the middle of the 1st century B.C. On the basis of the studies carried out and the classification made by Vitruvio, the paintings are usually divided into 4 styles:ġ style: known as "incrustation" or "structural" style. The discovery of the city, with its rich pictorial heritage, has, however, allowed for a new debate to be opened on the whole issue of Roman art. The Archaeological Park of Pompeii and the Public Prosecutor’s Office of Torre Annunziata announce the discovery of an extraordinary find, which has emerged intact from the excavation of the suburban villa of Civita Giuliana, beyond the walls to the north of the ancient city of Pompeii, as part of the joint operations launched in 2017 and in accordance with the Memorandum of Understanding signed in 2019, which sought to combat illegal activities which had been conducted in the area.īefore the discovery of Pompeii, information about Roman painting was scarce and fragmentary with rare examples limited to fragments of frescos found in isolated cases. The remains of a tortoise, with a fragile egg within her shell, have been discovered in a shop on Via dell’Abbondanza testimony of a rich ecosystem at Pompeii, composed of natural and not only anthropic traces, and precious archaeological evidence of the final phase in the life of the city, following the violent earthquake of AD 62 and preceding the fateful eruption of AD 79. Pompeii: The discovery of a tortoise from 2,000 years ago and her egg Small furnished rooms have been discovered around a sumptuous lararium with a depiction of an ‘enchanted garden’, previously excavated in 2018 during the course of maintenance operations on the excavation fronts. The discovery of furnishings from the house of the ‘lararium’ in Regio V a snapshot of middle class Pompeii
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