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1 John R. Clarke, Art in the Lives of Ordinary Romans: Visual Representation and Non‐Elite Viewers in Italy, 100 B.C.–A.D. 315 (Berkeley 2003). Examines the art designed for and sometimes created by slaves, former slaves, foreigners, and the free poor in the Roman world.

2 Christopher H. Hallett, The Roman Nude: Heroic Portrait Statuary 200 B.C.–A.D. 300 (Oxford University Press 2005). Surveys the many examples of male and female nude portrait and sets them in cultural context. Investigates the origins and Roman understanding of these portraits using nudity as an important form of costume.

3 Tonio Hölscher, The Language of Images in Roman Art (Cambridge University Press 2004). If you don’t believe me that Roman art operates as a semantic system that expresses values, this book will convince you. Gives a great deal of attention to the role of Greek art in later Roman art.

4 Elizabeth Marlowe, Shaky Ground: Context, Connoisseurship and the History of Roman Art (Bristol Classical Press 2013). The recent crisis in the world of antiquities collecting has prompted scholars and the general public to pay more attention than ever before to the questions of archaeological findspots and collecting history for newly found objects. This book argues that the question of archaeological origins should be the first one asked not only by museum acquisitions boards but by scholars as well.

5 Peter Stewart, The Social History of Roman Art (Cambridge University Press 2008). The character of Roman art history has changed in recent years. More than ever before, it is concerned with the role of art in ancient society, including the functions that it served and the values and assumptions that it reflects. Focusing on selected examples and themes, this book sets the images in context, explains how they have been interpreted, and points out where we have gone wrong in our interpretations of Roman art.

6 Jennifer Trimble, Women and Visual Replication in Roman Imperial Art and Culture (Cambridge University Press 2011). Focuses on the “Large Herculaneum Woman” statue type to assess how sameness helped to communicate a woman’s social identity. The author demonstrates how visual replication in the Roman Empire thus emerged as a means of constructing social power and articulating dynamic tensions between empire and individual localities.