Caroline Cartwright – författare

Once interred with mummified remains, nearly a thousand funerary portraits from Roman Egypt survive today in museums around the world, bringing viewers face-to-face with people who lived two thousand years ago. Until recently, few of these paintings had undergone in-depth study to determine by whom they were made and how.An international collaboration known as APPEAR (Ancient Panel Paintings: Examination, Analysis, and Research) was launched in 2013 to promote the study of these objects and to gather scientific and historical findings into a shared database. The first phase of the project, was marked with a two-day conference at the Getty Villa. Conservators, scientists, and curators presented new research on such topics as provenance and collecting, comparisons of works across institutions, and scientific studies of pigments, binders, and supports. The papers and posters from the conference are presented in this online publication, which offers the most up-to-date information available about these fascinating remnants of the ancient world.

Nearly a thousand funerary portraits from Roman Egypt, once interred with mummified remains, survive in museums around the world. These fascinating paintings offer the unparalleled opportunity for viewers to come face-to-face with people who lived and died some two thousand years ago.The international collaboration known as APPEAR (Ancient Panel Paintings: Examination, Analysis, and Research) was launched in 2013 to promote the study of these objects and gather research findings into a shared database. This second volume of Mummy Portraits of Roman Egypt compiles seventeen scholarly papers from the APPEAR conference hosted in October 2022 at the Allard Pierson Museum, Amsterdam. Conservators, scientists, and curators presented new research on topics such as technical imaging; nondestructive analytical techniques like elemental mapping; provenance and collecting; treatment histories; connoisseurship and forgeries; comparisons of works across institutions; and scientific studies of woods, pigments, coatings, binders, and supports. Some of the artworks discussed in this publication had never before been systematically studied. With the most up-to-date information available about the production, function, and history of these painted remnants of the ancient world, this volume will be a valuable resource to conservators, scientists, curators, and collectors.