Art of Pompeii

Here is another image post for you all to enjoy, today’s topic is the Art of Pompeii!

Most people have heard of the city of Pompeii and the natural disaster that preserved it so well under a deep layer of ash. This city has provided an invaluable insight to the Roman world and many claim it to be the richest archaeological site in the world, because of the amount of raw data it has given scholars.

Mosaic, Pompeii
A mosaic from the Roman town of Pompeii, buried by the eruption of Mt. Vesuvius in 79 CE. Such fine mosaics were a common feature of floors in the villas of the town and depicted scenes from mythology, the owner’s business interests or, as here, animal scenes. (Archaeological Museum of Naples, Italy). Photo © Mary Harrsch (Photographed at the Museo Archaeologico Nazionale di Napoli).

Roman frescoes on show in Toulouse (France)

Last weekend I travelled to Toulouse to visit the fabulous exhibition on Roman frescoes being held at the Musée Saint-Raymond. The exhibition entitled ‘L’Empire de la couleur – De Pompéi au sud des Gaules’ (which translates as ‘Empire of colour – From Pompeii to Southern Gaul’) opened last November and runs through March 2015.

Empire of colour. From Pompeii to Southern Gaul, exhibition poster

The majority of Roman frescoes were found in Campania, in the region around the Bay of Naples. It is there that Mount Vesuvius erupted in 79 AD, burying much of the cities of Pompeii and Herculaneum, and nearby villas. The ash, lapilli, and mud that seeped into the houses acted as a preservative for wall paintings, but also for many households and decorative objects, as well as organic materials. Most of the paintings were detached from the houses of Pompeii and the surrounding area between the mid-eighteenth century and the beginning of the twentieth. They represent an exceptional insight into the development of Roman painting from the Late Republic to the Empire.


10 Greek & Roman Frescoes

As a technique, true fresco painting (buon fresco) is the painting of colour pigments on wet lime plaster without a binding agent, and when the paint is absorbed by the plaster, it is fixed and protected from fading. Inherent problems with frescoes for historians are their fragility, incompleteness, and artistic anonymity. In addition, at archaeological sites they are often found removed from their original settings, making them extremely difficult to date. However, frescoes can provide us with some of the most striking imagery from antiquity, and they can give a unique insight into the ordinary lives of people long ago.

For more on frescoes see our articles on Minoan Frescoes, Akrotiri Frescoes, and Roman Wall Painting.

 Minoan Frescoes

Minoan Dolphin Fresco
Minoan Dolphin Fresco from Knossos, Crete, 1700-1450 BCE.