Portal de Cartagena
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The Roman Theater Museum of Cartagena hosts the International Congress of Roman Painting in Hispania from April 25 to 27, where many European universities participate.
The event is organized by the Fundación Teatro Romano Cartagena in collaboration with the City of Cartagena, as well as by the University of Murcia, the Center for Virtual Archeology Studies (DigitalMED) and the Monumental Consortium of the City of Mérida.
In this Congress, we wanted to update the state of the art on mural painting in Hispania thirty years after the last scientific meeting with a very complete program.
If in 1989 took place the 1st Colloquium of Roman Mural Painting in Spain, held in Valencia, which was the first stone of Spanish research on this field.
A few years later, in 1996, the second scientific meeting was held, on this occasion, at the National Museum of Roman Art in the city of Mérida, the last of these congresses held to date.
In the thirty years since then, the increase in the number of pictorial sets that we know thanks to the methodological renovation in the recovery, registration, study and conservation of the remains, makes it necessary to organize a new congress in which there is room only the new findings, but also the results obtained from the application of all those disciplines that have improved the intervention and interpretation of the data.
The objective of this new congress is an update and common of the research that is carried out in relation to the new pictorial groups and / or workshops to which they belong.
The improvement in the procedures and techniques of analysis with the application of the most advanced technologies as well as on their conservation and value as integral elements of the heritage.
On the occasion of the International Congress on Roman Painting in Hispania, the Museum of the Roman Theater of Cartagena and the University of Murcia have organized a show that brings visitors to the knowledge of Roman wall painting, through explanatory panels, as well as an audiovisual on the recovery of some pictorial groups found in Cartagena, illustrating from its appearance in archaeological excavations until its value.
This is in addition to the visit to the temporary exhibition of the Muses in the Town Hall.
The pictorial decoration in the Roman world was a purely artisanal activity, carried out by a team made up of the albator who prepares and carries out the mixing, the designer who prepares the mortar layers and the system for fixing it to the wall, the pictor parietarius that performs the general composition and the pictor imaginarius that makes the most complicated figurative compositions.
All this reflects a hierarchization of work and an economic and social differentiation.
The teams were organized in itinerant workshops and were carrying out commissioned work for the different buildings of the cities of the Empire.
The study of pictorial sets found throughout the Region allows knowing the development of the four Pompeian styles and provincial painting, as well as the workshops whose work can be seen in a wide variety of urban spaces of Carthago Nova but also in the villas high imperial of its territory, case of the set coming from the Roman baths of Archena, or of the Roman villas of Portman, the Quintilla in Lorca and the Torrejones in Yecla.
As for Carthago Nova, we can see the arrival of Italic artisans, who use compositional cards very similar to those present in the bell cities, but adapting them to the tastes of society.
Among the paintings in the private sphere, we can highlight the paintings of the Casa de la Fortuna, those of the Casa de Salvius, to which we must add the rich pictorial collections located in the Barrio del Foro.
Among the public paintings we can highlight the rich pictorial program located in two spaces of the porch after the scene of the Roman theater.
Inside the galleries of the western portico, it has been possible to identify a group decorated with fictitious architecture and another one with concentric floral and geometric medallions, whose central zone appears decorated with figurative motifs such as the griffin.
So that the functions of the porch as a place of rest or refuge in moments of inclemency combined their destiny as zones of self-representation of the local elites.
Source: Ayuntamiento de Cartagena
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