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Private Propaganda: The Iconography of Large Imperial Cameos of the Early Roman Empire

Fischer, Julia Claire
http://rave.ohiolink.edu/etdc/view?acc_num=osu1414586866

Abstract Details

2014, Doctor of Philosophy, Ohio State University, History of Art.
The contribution of this dissertation to the field of Roman art is threefold. First, this dissertation examines exclusively the iconography of large Roman Imperial cameos. While previous scholars have thoroughly examined individual Roman Imperial cameos and their iconography, I address the cameos as a coherent group. In this way, I reveal how large Imperial cameos are in conversation with one another and are referential. That is, the Gemma Augustea is a response to the Tazza Farnese and the Grand Camee is a response to the Gemma Augustea. Second, my study of the iconography of Roman Imperial cameos reveals a language of private propaganda that is different from the public art seen by the general population. In particular, I analyze the iconography of large Imperial cameos for what the private symbolism says about Octavian/Augustus, and the Julio-Claudians. For example, in cameos emperors and members of the Imperial family had the freedom to present themselves, and their family members, how they truly wished to be viewed, versus art in the public sphere in which the emperor and his family had to adhere to certain criteria. Finally, this study will illuminate the importance of these Roman Imperial cameos in understanding the development of Roman Imperial art. The iconography of Roman Imperial cameos follows Goran Hermeren’s four stages of the development of symbols. In these four stages of development, Imperial cameos experiment with transmitting new Imperial messages that will become common in subsequent dynasties. In other words, the Tazza Farnese, Gemma Augustea, and Grand Camee de France serve as an iconographic testing ground for the Julio-Claudians. Furthermore, perhaps the most important contribution of this dissertation is that these large Imperial cameos, which are for all intents and purposes private works of art, actually address a broad cultural sphere. In other words, the style and iconography of the Tazza Farnese, Gemma Augustea, and Grand Camee de France are Hellenistic and Imperial in orientation rather than being very limited in their scope.
Mark D. Fullerton (Advisor)
Barbara Haeger (Committee Member)
Timothy J. McNiven (Committee Member)
221 p.
Archaeology; Art History; Classical Studies
Roman Imperial cameos, luxury arts, iconography, propaganda, Roman art

Recommended Citations

Citations

  • Fischer, J. C. (2014). Private Propaganda: The Iconography of Large Imperial Cameos of the Early Roman Empire [Doctoral dissertation, Ohio State University]. OhioLINK Electronic Theses and Dissertations Center. http://rave.ohiolink.edu/etdc/view?acc_num=osu1414586866

    APA Style (7th edition)

  • Fischer, Julia. Private Propaganda: The Iconography of Large Imperial Cameos of the Early Roman Empire. 2014. Ohio State University, Doctoral dissertation. OhioLINK Electronic Theses and Dissertations Center, http://rave.ohiolink.edu/etdc/view?acc_num=osu1414586866.

    MLA Style (8th edition)

  • Fischer, Julia. "Private Propaganda: The Iconography of Large Imperial Cameos of the Early Roman Empire." Doctoral dissertation, Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1414586866

    Chicago Manual of Style (17th edition)

osu1414586866
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This open access ETD is published by The Ohio State University and OhioLINK.