Nathaniel B. Jones is Assistant Professor of Art History and Archaeology at Washington University in St Louis. His research interests include painting, collecting practices, and art-historical thought in Greco-Roman antiquity. He earned a Ph.D. in the History of Art from Yale University in 2013. His research, which centers on the artistic and visual culture of the Greco-Roman Mediterranean, has been supported by the Center for Advanced Study in the Visual Arts in Washington, DC, and the German Archaeological Institute in Berlin. He has published on topics such as the representation of the dead in Classical Greek vase painting and the collection and display of art in the Hellenistic and Roman worlds, and the interrelationship of space and time in Roman narrative images.

• Introduction: the painting of painting in Ancient Rome; 1. Winckelmann and the cultural dynamics of painting; 2. Disrupting the frame; 3. The ethics and politics of art; 4. Transparent and opaque: medium and materiality on the Roman wall; 5. Paradigms, ensembles, and anachronisms; Epilogue: reflection and reflexivity.

Nathaniel B. Jones is Assistant Professor of Art History and Archaeology at Washington University in St Louis. His research interests include painting, collecting practices, and art-historical thought in Greco-Roman antiquity. He earned a Ph.D. in the History of Art from Yale University in 2013. His research, which centers on the artistic and visual culture of the Greco-Roman Mediterranean, has been supported by the Center for Advanced Study in the Visual Arts in Washington, DC, and the German Archaeological Institute in Berlin. He has published on topics such as the representation of the dead in Classical Greek vase painting and the collection and display of art in the Hellenistic and Roman worlds, and the interrelationship of space and time in Roman narrative images.

• Introduction: the painting of painting in Ancient Rome; 1. Winckelmann and the cultural dynamics of painting; 2. Disrupting the frame; 3. The ethics and politics of art; 4. Transparent and opaque: medium and materiality on the Roman wall; 5. Paradigms, ensembles, and anachronisms; Epilogue: reflection and reflexivity.