Hostname: page-component-cd9895bd7-p9bg8 Total loading time: 0 Render date: 2024-12-25T19:23:00.545Z Has data issue: false hasContentIssue false

Face to face with Roman Egypt: interdisciplinary studies of ancient panel paintings - M. Svoboda, and C. R. Cartwright, eds. 2020. Mummy Portraits of Roman Egypt: Emerging Research from the APPEAR Project. Pp. 185. Los Angeles: Getty Publications. ISBN 978-1-6060-6654-6.

Review products

M. Svoboda, and C. R. Cartwright, eds. 2020. Mummy Portraits of Roman Egypt: Emerging Research from the APPEAR Project. Pp. 185. Los Angeles: Getty Publications. ISBN 978-1-6060-6654-6.

Published online by Cambridge University Press:  22 November 2021

Cecilie Brøns*
Affiliation:
Ny Carlsberg Glyptotek, Copenhagen

Abstract

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Review
Copyright
Copyright © The Author(s), 2021. Published by Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Alexopoulou-Agoranou, A., Kalliga, A. E., Kanakari, U., and Pashalis, V.. 1997. “Pigment analysis and documentation of two funerary portraits which belong to the collection of the Benaki Museum.” In Portraits and Masks: Burial Customs in Roman Egypt, ed. Bierbrier, M. L., 8895. London: British Museum Press.Google Scholar
Bracci, S., Giachi, G., Liverani, P., Pallecchi, P., and Paolucci, F., eds. 2018. Polychromy in Ancient Sculpture and Architecture. Livorno: Sillabe.Google Scholar
Brandt, L. Ø., Brøns, C., Olsen, J. V., and Cappellini, E.. 2016. “Paleoproteomics and polychromy: The identification of peptides from paint binders from the Palace of Apries, Egypt.” Poster and paper presented at the International Symposium on Biomolecular Archaeology, Oxford, Sept. 14–16. http://www.trackingcolour.com/assets/4/b/1199/ISBA-7poster_FINAL_FINAL.pdf.Google Scholar
Bredahl-Jørgensen, J., Sanvova, J., Rask, V., Sargent, M. L., and Therkildsen, R.. 2011. “Striking presence of Egyptian blue identified in a painting by Giovanni Battista Benvenuto from 1524.” Analytic and Bioanalytic Chemistry 401: 1433–39.CrossRefGoogle Scholar
Bridgman, C. F., and Gibson, H. L.. 1963. “Infrared luminescence in the photographic examination of paintings and other art objects.” Studies in Conservation 8, no. 3: 7783.Google Scholar
Brinkmann, V., and Koch-Brinkmann, U.. 2020. Bunte Götter. Golden Edition. Munich: Prestel.Google Scholar
Brinkmann, V., Primavesi, O., and Hollein, M., eds. 2008. Circumlitio: The Polychromy of Antique and Medieval Sculpture. Frankfurt am Main: Liebieghaus.Google Scholar
Brøns, C., Rasmussen, K. L., Melchiorre di Crescenzo, M., Lluveras, A., and Stacey, R.. 2018. “Painting the Palace of Apries I: Binding media and coatings.” Heritage Science 6, no. 6. https://doi.org/10.1186/s40494-018-0170-9.CrossRefGoogle Scholar
Cardon, D. 2007. Natural Dyes: Sources, Tradition, Technology and Science. London: Archetype.Google Scholar
Corcoran, L., and Svoboda, M., eds. 2010. Herakleides: A Portrait Mummy from Roman Egypt. Los Angeles: Getty Publications.Google Scholar
Corzo, M. A., Stulik, D., Doehne, E., and Wallert, A.. 1997. “Scientific analysis of a Fayum portrait by the Getty Conservation Institute.” In Portraits and Masks: Burial Customs in Roman Egypt, ed. Bierbrier, M. L., 8187. London: British Museum Press.Google Scholar
Dyer, J., Tamburini, D., and Sotiropoulou, S.. 2018. “The identification of lac as a pigment in ancient Greek polychromy: The case of a Hellenistic oinochoe from Canosa di Puglia.” Dyes and Pigments 149: 122–32.CrossRefGoogle Scholar
Dyer, J., Verri, G., and Cupitt, J.. 2013. Multispectral Imaging in Reflectance and Photo-Induced Luminescence Modes: A User Manual. London: British Museum.Google Scholar
Freccero, A. 2000. Fayum Portraits: Documentation and Scientific Analyses of Mummy Portraits Belonging to the Nationalmuseum of Stockholm. Gothenburg: Acta Universatis Gothoburgensis.Google Scholar
Freccero, A. 2002. Encausto and Ganosis: Beeswax as Paint and Coating during the Roman Era and Its Applicability in Modern Art, Craft and Conservation. Göteborg Studies in Conservation 9. Göteborg: Acta Universitatis Gothoburgensis.Google Scholar
Frey, F., Warda, J., Heller, D., Kushel, D., Vitale, T., and Weaver, G.. 2011. The AIC Guide to Digital Photography and Conservation Documentation. Washington, DC: American Institute for Conservation of Historic and Artistic Works.Google Scholar
Ganio, M., Salvant, J., Williams, J., Lee, L., Cossairt, O., and Walton, M.. 2015. “Investigating the use of Egyptian blue in Roman Egyptian portraits and panels from Tebtunis, Egypt.” Applied Physics A 121, no. 3: 813–21.CrossRefGoogle Scholar
Granzotto, C., and Arslanoglu, J.. 2017. “Revealing the binding medium of a Roman Egyptian painted mummy shroud.” Journal of Cultural Heritage 27: 170–74.CrossRefGoogle Scholar
Granzotto, C., Sutherland, K., Arslanoglu, J., and Ferguson, G. A.. 2019. “Discrimination of acacia gums by MALDI-TOF MS: Applications to micro-samples from works of art.” Microchemical Journal 144: 229–41.CrossRefGoogle Scholar
Liverani, P., and Santamaria, U., eds. 2014. Diversamente bianco. La policromia delle scultura romana. Rome: Edizioni Quasar.Google Scholar
Marketou, A. K. 2021. “A matter of colour: Pigment production on Late Hellenistic Kos through the material remains of a 1st c. BCE workshop.” PhD diss., Univ. of Oslo.Google Scholar
Mathews, T. F. 2016. The Dawn of Christian Art in Panel Paintings and Icons. Los Angeles: J. Paul Getty Museum.Google Scholar
Mazurek, J., Svoboda, M., Maish, J., Kawahara, K., Fukakusa, S., Nakazawa, T., and Taniguchi, Y.. 2014. “Characterization of binding media in Egyptian Romano portraits using enzyme-linked immunosorbant assay and mass spectrometry.” e-PS 11: 7683.Google Scholar
Mazurek, J., Svoboda, M., and Schilling, M.. 2019. “GC/MS characterization of beeswax, protein, gum, resin and oil in Romano-Egyptian paintings.” Heritage 2, 1960–85.CrossRefGoogle Scholar
Nelson, D. E., Chaloupka, G., Chippindale, C., Alderson, M. S., and Southon, J. R.. 1995. “Radiocarbon dates for beeswax figures in the prehistoric rock art of northern Australia.” Archaeometry 37, no. 1: 151–56.CrossRefGoogle Scholar
Østergaard, J. S., and Nielsen, A.M.. 2014. Transformations: Classical Sculpture in Colour. Copenhagen: Ny Carlsberg Glyptotek.Google Scholar
Pagés-Camagna, S., and , A. Le. 2008. “Analyses de laboratorire des matériaux colorés et de la technique des portraits du Fayoum.” In Portraits funéraires de l'Egypte romaine, ed. Aubert, M. F., Cortopassi, R., Nachtergael, G., Amorós, V. A., Détienne, P., Pagés-Camagna, S., and Le Hô, A., 4154. Paris: Musée du Louvre.Google Scholar
Petrie, W. M. F. 1931. Seventy Years in Archaeology. London: Sampson Low.Google Scholar
Rodler, A., Artioli, G., Klein, S., Petschieck, R., Fink-Jensen, P., and Brøns, C.. 2017. “Provenancing ancient pigments: Lead isotope analyses of the copper compound of Egyptian blue pigments from ancient Mediterranean artifacts.” JAS: Reports 16: 116.Google Scholar
Rondot, V. 2013. Derniers visages des dieux d'Egypte. Iconographies, panthéons et cultes dans le Fayoum hellénisé des IIe–IIIe siècles de notre ère. Paris: Presses de l´université Paris-Sorbonne.Google Scholar
Rosina, P., Gomes, H., Nash, G. H., and Solomon, T.. 2014. “Dating beeswax pictograms from Gode Roriso in Ethiopia.” JAS 49: 206–12.Google Scholar
Rönkkö, E., Terpstra, T., and Walton, M., eds. 2019. Portrait of a Child: Historical and Scientific Studies of a Roman Egyptian Mummy. Evanston, IL: Block Museum of Art, Northwestern University.Google Scholar
Salvant, J., Williams, J., Ganio, M., Casadio, F., Daher, C., Sutherland, K., Monico, L., Vanmeert, F., De Meyer, S., Janssens, K., Cartwright, C., and Walton, M.. 2018. “Roman Egyptian painting workshop: Technical examination of the portraits from Tebtunis, Egypt.” Archaeometry 60, no. 4: 815–33.CrossRefGoogle Scholar
Skovmøller, A. 2020. Facing the Colours of Roman Portraiture: Exploring the Materiality of Ancient Polychrome Forms. Berlin: De Gruyter.CrossRefGoogle Scholar
Skovmøller, A., C. Brøns, and M. L. Sargent, . 2016. “Egyptian blue: Modern myths, ancient realities.” JRA 29: 371–87.Google Scholar
Verri, G. 2009. “The spatially resolved characterisation of Egyptian blue, Han blue and Han purple by photo-induced luminescence digital imaging.” Analytical and Bioanalytical Chemistry 394, no. 4: 1011–21.CrossRefGoogle Scholar
Verri, G., Opper, T., and Lazzarini, L. 2014. “‘In picturae modum variata circumlitio’? The reconstruction of the polychromy of a Roman ideal female head (Treu Head).” In Diversamente bianco. La policromia delle scultura romana, ed. Liverani, P. and Santamaria, U., 149–84. Rome: Edizioni Quasar.Google Scholar
Webb, E. K., Summerour, R., and Giaccai, J.. 2014. “A case study using multiband and hyperspectral imaging for the identification and characterisation of materials on archaeological Andean painted textiles.” Postprints of the Textile Specialty Group of the American Institute for Conservation of Historic & Artistic Works 24: 2335.Google Scholar