Un aspecto de la imagen del poder: Los retratos en los camafeos de tradición augustea

Pilar Fernández Uriel

doi:10.5209/eiko.73376

Un aspecto de la imagen del poder

Los retratos en los camafeos de tradición augustea

Pilar Fernández Uriel Universidad Nacional de Educación a Distancia https://orcid.org/0000-0002-4019-4538

DOI: https://doi.org/10.5209/eiko.73376

Palavras-chave: camafeos, iconografía, documentación, Gens Julio-Claudia, Época Augustea, simbología

Resumo

En este artículo se han seleccionado y clasificado una serie de camafeos como representativos retratos de Augusto y de personajes masculinos y femeninos, pertenecientes a la Gens Julio Claudia, en un período cronológico comprendido, aproximadamente, entre el 31 a.C. y el 68 d.C., de los que se realiza un estudio desde la perspectiva iconográfica, considerando que sus imágenes trasmiten una valiosa documentación histórica.

Ver citações

Referências

AA.VV. 2006, Roma and Augustus on the Gemma Augustea, The International Symposium on Sacred Images, held at the University of Siena. (June 15).

ALCOUFFE, Daniel, (dir.), 1994, Catalogue d'exposition: Luigi Valadier au Louvre ou l'Antiquité exaltée, Paris, Editions de la Réunion des musées nationaux, n. 5, 189 p.

ALFARO GINER, Carmen, 1995, Entalles y camefeos de la Universitat de València /. Estudis numismàtics valencians 7, Valencia, 601 p.

ASTIER Marie-Bénédicte, 1997, “L'Oro di Valadier, un genio nella Roma del Settecento”, Rome, École française de Rome, Villa Médicis, n. 5, p. 70-72

BABELON, Ernest, 1897, Catalogue des Camées antiques et modernes de la Bibliothèque Nationale. Paris.

BANTI, Alberto, 1980-1981, Corpus Nummorum Romanorum (5 volúmenes), Firenze.

BARASCH, Moshe, 1997, The language of art: studies in interpretation, New York, NYU Press, 272 p.

BARRETT, Anthony A. 2002, Livia: First Lady of Imperial Rome. New Haven: Yale University Press, 425 p.

BARTMAN, Elizabeth, 1999, Portraits of Livia: imaging the imperial woman in Augustan Rome. Cambridge: Cambridge University Press, 362 p.

BARTMAN, Elizabeth, 2001, “Hair and the Artifice of Roman Female Adornment”, American Journal of Archaeology, 105.1, p. 1-25.

BECKWITH, John, 1969, Early Medieval Art: Carolingian, Ottonian, Romanesque, Thames & Hudson, 270 p.

BIMSON, Mavis, FREESTONE, Iam.C, 1983. “An analytical study of the relationship between the Portland vase and other roman cameo glasses”, Journal of Glass Studies 25, p. 55-65.

BOARDMAN, John (ed.), 1993, The Oxford History of Classical Art, 406 páginas BOSCHUNG, Dietrich, 1993, Die Bildnisse des Augustus, (fig. n. 150, p.170) Berlin: Gebruder Mann Verlag, 252, p. 239-290.

BROWN, Clifford Malcolm, 1997, “Isabella d’Este Gonzaga’s Augustus and Livia cameo and the “Alexander and Olympias, gems in Vienna and Saint Petersburg”.

BROWN, Clifford Malcolm (ed.), 1997, Engraved gems: survivals and revivals /gems-history-congresses, nov. 18-19, 1994, Hannover and London, p. 84-107. BULJEVIĆ, Zrinka Staklena, 2004-05, “Kameja s Livijinim portretom. A glass cameo with a portrait of Livia”. Vjesnik za Arheologiju i Historiju Dalmatinsku, nº 97, p. 151-160.

BURN, Lucila, (2nd ed.), 1999, The British Museum book of Greek and Roman art, London, The British Museum Press T.1, p. 204–223.

CLAYTON, Peter, 1995, Treasures of Ancient Rome, New Jersey, 200 p.

CALKINS, Robert G., 1979, Monuments of Medieval Art, Dutton, 299 p.

CAMPBELL, Gordon, (ed.), 2006, The Grove Encyclopedia of Decorative Arts, Oxford University Press US, 290 p.

COIRIER, Guillaume, 2004, “Nouvelle approche de la Gemma Claudia. L’apport des couronnes”, Journal des savants, p. 21-60. http://www.louvre.fr/en/oeuvre-notices/cameo-augustus

CURTIUS, Ludwig, 1874-1954, Ikonographische Beiträge zum Porträt der römischen Republik und der Julisch-Claudischen Familie. VI, Neue Erklärung des grossen pariser Cameo mit der familie des Tiberius, 156 p.

DOONAN, Owen, 1992, ““The Gemma Augustea: a new Interpretation”, Revue des Archéologues et Historiens d'Art, Louvain XXV, 25, p. 13-30.

DONNARUMMA, R., 2001, “Modelli di organizzazione in età classica. Un cammeo in calcedonio con il ritratto di Augusto”, Xenia Ant, X, p. 27-34.

DRAPER, James, 2009, Cameo Appearances: Metropolitan Museum of Modern Art. FRITZ, Eichler; Ernst, Kris, 1927, Die Kameen im Kunsthistorischen Museum: beschreibender Katalog, Vienn, Kunsthistorisches Museum. Jahrbuch, 246 pl. 84 pl.

FLORY, Marleen B., 1995, “The symbolism of laurel in cameo portraits of Livia”, Memoirs of the American Academy in Rome, 40, p.43-68.

GALINSKY, Karl, 1996, Augustan Culture: An Interpretive Introduction, Princeton University Press, Princeton, New Jersey, 474 p.

GIARD, Jean-Baptiste, 1926, “Le grand camée de France, Paris”, HB Walters,(ed.) Catalogue of the engraved gems, London.

GOLDSTEIN, Sidney, RAKOW, Leonard S. RAKOW, Juliette K, 1982, Cameo Glass: Masterpieces from 2000 Years of Glassmaking, New York: The Corning Museum of Glass.

GUDENRATH, William, ROBERTS, Paul, TATTON-BROWN, Veronica, WHITEHOUSE, David, 2010, Roman cameo glass in the British Museum, British Museum Press, London 112 p.

HANFMANN, George M.A., 1975, Roman Art: A Modern Survey of the Art of Imperial Rome. W.W. Norton & Company, Inc., New York.

HARDEN, Donald B. and others, 1968, The British Museum: masterpieces of glass, a selection, London.

HENIG, Martin, (ed), 1983, A Handbook of Roman Art, Phaidon.

HENIG, Martin, 1990, The Content Family Collection of Ancient Cameos- Ashmolean Museum, 134 p.

HENDERSON, George, 1977, reimp., Early Medieval Art, London Penguin, 272 p. JOHNS, Catherine, 1999, The Wiveliscombe Roman cameo. Classicism to neo-classicism. Essays dedicated to Gertrud Seidmann , Oxford.

JUCKER, Hans, 1977, “Dokumentationen zur Augustusstatue von Primaporta: Hefte des Archäologischen Seminars Bern 3, p. 16-37.

KING, Charles William, 2003, Handbook of Engraved Gems, 1866, reprinted Kessinger Publishing, 488 p.

KLEINER Diana E., 2000, “Livia Drusilla and the Remarkable Power of Elite Women in Imperial Rome: A Commentary on Recent Books on Rome's First Empress”, International Journal of the Classical Tradition, Vol. 6, N. 4 (Spring), p. 563-569.

KORNBLUTH, Genevra Alisoun, 1995, Engraved gems of the Carolingian empire, Penn State Press, 139 p.

KUENZEL, Susane, 1994, “¿Gemma Claudia?”, Archäologisches Korrespondenzblatt 24, p. 289-297.

LASKO, Peter, 1975, Ars Sacra, 800–1200, Penguin History of Art Yale 334 p.+ 75 pl.

LEGNER, Anton, (ed), 1985, Ornamenta Ecclesiae, Kunst und Künstler der Romanik. Catalogue of an exhibition in the Schnütgen Museum, Köln,3 vols LIERKE, Rosemarie, 2011, “On the manufacture of ancient cameo glasses”. Restaurierung und Archäologie 4, 2011, p.75-105.

LIGHTFOOT, Christopher, 2000, “Luxury Arts of Rome”, Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, (February 2009, retr. 23 September, 2009). http://www.metmuseum.org/toah/hd/luxu/hd_luxu.htm (February 2009) MEGOW Wolf, R., 1987, Kameen von Augustus bis Alexander Severus, Berlin, Walter de Gruyter Publishers, n 32, 326 p.

MEGOW Wolf, R., 1985, Zu einigen Kameen späthellenistischer und frühaugusteischer Zeit, Berlin, 496 p.

MEYER, Hugo, 2000, Prunkkameen und Staatsdenkmäler römischer Kaiser, Neue Perspektiven zur Kunstgeschichte der frühen Prinzipatzeit,München 144 Seiten, 240 Abb. Ln.

MILLER, Anna M., 2003, Cameos Old and New, London, British Museum.

MILLER, Anna M.; JARRETT,Diana, 2009, Cameos Old and New- 4th Edition., 382 p.

MÖBIUS, Hans, 1971, “Rezension zu Hans Kähler : Alberti Rubeni Dissertatio de Gemma Augustea”. Gnomon, 43, 1971, p. 316-318.

NEVEROV, Oleg, 1972, Antique Cameos in the Hermitage Collection. Aurora Art Publishers. Leningrado, 95 p.+ 107 pl.

NEVEROV, Oleg, 1974, “Les portraits de Néron à l'Hermitage”, GNS, 24, p. 79- 87.

POLLINI, Jonh, 1993, “The Gemma Augustea: Ideology, Rhetorical Imagery, and the Construction of a Dynastic Narrative”, Narrative and Event in Ancient Art, ed. P. Holliday, Cambridge, p. 258-98.

PRÜCKNER, Hans, 1997, “Die Stellung des Tiberius. Vorschlag für eine Ergänzung der Gemma Augustea”, Komos. Festschrift für Thuri Lorenz zum 65. Geburtstag, Wien, p. 119- Painter, Sarah,K. ,Whitehouse, David, 1990, “The History of the Portland Vase”, Journal of Glass Studies, 32, p. 24-84.

PETRILLO, Serafin, 2000, “Un inedito ritratto di Nerone. Dalla gemma alla moneta”. Akten, proceedings XII. Internationaler Numismatischer Kongress, Berlin1997, Berlin, p. 617-620.

RICHTER, Gisela M. A., 2006, Catalogue of Engraved Gems: Greek, Etruscan, and Roman. 2d ed. Rome: L'Erma di Bretschneider, 565 p.

RUSKIN, John, 2010, Cameos from Ruskin, Reim London Nabu Press, 104 p. SCARISBRICK, Dianna, 2003, Classical Gems: Ancient and Modern Intaglios and Cameos in the Fitzwilliam Museum, Cambridge, 568 p.

SCHILLER, Gertrud, 1972, Iconography of Christian Art, Vol. II, (English trans from German), Lund Humphries, London, 473 p.

SCHÜSSLER, Ulrich, GEDZEVICIUTE,Vilma, WELTER, Nele 2007,”Die Kunst der antiken Glasmacher mit mikroanalytischen Methoden auf der Suche nach den Details römischer Mosaikgläser”, Einführung Nele in die Archäometrie, p. 193-214.

SCHMIDT, Gerhard, 2008, “Erfahrungen und Fragen beim Nachschneiden der drei größten Sardonyx-Kameen der Antike Tazza Farnese, Gemma Augustea und Grand Camée de France”, Mythos und Macht Antikensammlung, Staatliche Museen zu Berlin.

SWARZENSKI, Hanns, 1974, Monuments of Romanesque Art; The Art of Church Treasures in North-Western Europe, Faber and Faber, 102 p. + 557 pl.

TAIT, Hugh, 1997, “The Renaissance cameo-cut vase and its antecedents. Engraved gems: Survivals and revivals”, Symposium Papers, 32, National Gallery of Art; Hanover: University Press of New England, Studies in the History of Art (Washington, D.C, 54. Center for Advanced Study in the Visual Arts, p. 109-125.

TAIT, Hans, (ed.), 1999, Five thousand years of glass, 2nd paperback edition, London, The British Museum Press.

TATTON-BROWN, Veronica, 2006, Gudenrath,Winey, 2006, Catalogue of Greek and Roman glass in the British Museum II, London, The British Museum Press, 425 p.

THORESEN, Lisbet, Feb. 2009, “On Gemstones: Gemological and Analytical Studies of Ancient Intaglios and Cameos” In Ancient Glyptic Art- Gem Engraving and Gem Carving. Ancient-gems.lthoresen.com

TRENTINELLA, Rosemarie, 2009, “Roman Cameo Glass”. Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–9 (October 2003, retr. 16 September, 2009). http://www.metmuseum.org/toah/hd/rcam/hd_rcam.htm

VAN CAMP, Tristan, 1968, “The Marlborough turquoise” Göttingische gelehrte Anzeiger, 220, p. 48-58.

VERMEULE, Cornelius, 1966, “Greek and Roman Gems”, Boston Museum Bulletin, Vol. 64, N. 335 (1966), p. 18-35.

VERMEULE, Cornelius, 1957, Cameo and intaglio. Engraved gems from the Sommerville Collection, The University Museum, Philadelphia, 394 p.

WALTERS, Henry, 1927, Catalogue of the Engraved Gems and Cameos, Greek, Etruscan, and Roman in the British Museum, London , p. LXII + 420 with 44 plates, 4to.

VOLLENWEIDER, Marie-Louise; AVISSEAU-BROUSTET, Mathilde, 2003, “Camées et intailles”, Tomo II, Les Romains retrats du Cabinet des médailles, Catalogue, Paris.

WINKES, Rolf. 1982, “Der Kameo Marlborough: Ein Urbild des Livia”, Archäologischer Anzeiger 97, p.131-38.

WINKES, Rolf, 1995, Livia, Octavia, Julia. Portraits und Darstellungen, Archaeologia Transatlantica XIII, (Providence, R.I.: Brown University, Center for Old World.

WALKER, Susan BURNETT, Andrew, 1981, The Image of Augustus, London, British Museum Publications, 47 p.

WALKER, Susan, 2004, The Portland Vase, London, British Museum Press, 64 p.

WALKER, Susan, 1995, Greek and Roman portraits London, London, The British Museum Press, 112 p.

WALTERS BEAUCHAMP, Henry, 1926, Catalogue of the engraved gems Gems and Cameos, Greek, Etruscan, and and Roman in the British Museum. London

WERNER, Eck, 2002, “Die iulisch-claudische Familie. Frauen neben Caligula, Claudius und Nero”. Hildegard Temporini-Gräfin Vitzthum (Hg.): Die Kaiserinnen Roms. Beck, München, p. 103-163

WERNER, Eck, 1993, Agrippina, die Stadtgründerin Kölns. Eine Frau in der frühkaiserzeitlichen Politik. Greven, Köln, 380 p.

WERNER, Eck, 2010, Augusto e il suo tempo (traducción), Roma, 167 p.

WOOD, Susan, 1992, “Messalina, wife of Claudius. Propaganda successes and failures of his reign”, Journal of Roman Archaeology, 5, p.219-234

WOOD, Susan, 1999, Imperial Women: A Study in Public Images, 40 Bc-Ad 68, Boston, 490 p.

ZANKER, Paul, 1992, Augusto y el poder de las imágenes, 440 p.

Formato

PDF (espanhol)

Crossmark

Métricas

Publicado

2013-06-14

Como Citar

Fernández Uriel, Pilar. «Un aspecto de la imagen del poder: Los retratos en los camafeos de tradición augustea». Eikón / Imago 2, no. 1 (junho 14, 2013): 113–146. Acedido julho 14, 2026. https://revistas.ucm.es/index.php/EIKO/article/view/73376.

ABNT
ACM
ACS
APA
Chicago
Harvard
IEEE
MLA
Turabian
Vancouver

Descarregar Citação

Endnote/Zotero/Mendeley (RIS)
BibTeX

Edição

Vol. 2 N.º 1 (2013)

Secção

Papers

Licença

In order to support the global exchange of knowledge, the journal Eikon Imago is allowing unrestricted access to its content as from its publication in this electronic edition, and as such it is an open-access journal. The originals published in this journal are the property of the Complutense University of Madrid and any reproduction thereof in full or in part must cite the source. All content is distributed under a Creative Commons Attribution 4.0 use and distribution licence (CC BY 4.0). This circumstance must be expressly stated in these terms where necessary. You can view the summary and the complete legal text of the licence.