Dans le cadre de ce doctorat sur la représentation des bijoux féminins dans les portraits de l’Égypte romaine, les recherches se concentraient sur les « portraits du Fayoum » et masques funéraires des trois premiers siècles après J.-C.Bien que les masques funéraires et les portraits du Fayoum aient été le sujet de plusieurs publications pendant ces dernières années, il nous manquait encore une étude détaillée sur les bijoux féminins qui s’inspiraient presque exclusivement de la mode romaine. Une classification chronologique de ces portraits, mais aussi des masques funéraires, pouvait être obtenue par les coiffures féminines. Par conséquence, la distinction des portraits par époque nous permettait d’identifier les changements dans la mode des bijoux pendant les trois premiers siècles après J.-C., en donnant aux archéologues la possibilité de classifier encore mieux certains types de bijoux qui sont découverts pendant des fouilles ou sur le marché de l’art. Dans le cadre ce cette étude, les diverses représentations de bijoux, en provenance d’autres provinces romaines mais aussi des originaux, appartenant à des trésors et à des tombes datés étaient également consultés. L’application de nos résultats à d’autres contextes géographiques est toujours légitime, car les mêmes principaux types de bijoux étaient utilisés dans tout l’empire romain.Grâce à toutes ces données, il était possible de reconstruire les différents aspects de la mode des bijoux pour les différentes dynasties impériales pendant les trois premiers siècles après J.-C. / This particular PhD research project focuses on the representation of jewellery on “Fayum portraits” and mummy masks from Roman Egypt. Even though Roman mummy masks and the so called “Fayum portraits” have been the subject of numerous research in recent years, a detailed study on the individuals’ jewellery is still missing up to this date. This is particularly regrettable because females on these portraits are almost exclusively wearing Roman-type jewellery. A chronological order that includes a precise dating must be obtained by the female hairstyles that have been influenced by Roman fashion dispersed in the Roman Empire through representations in form of busts, coins and paintings of the Empresses and members of the imperial families. Consequently, this chronological order allows us to identify the various changes in the jewellery fashion throughout the imperial dynasties of the first three centuries A.D. A goal of the chronological classification of jewellery in the art of Roman Egypt is to help future researchers to date jewellery more precisely, in particular – which is quite common for jewellery - when their provenance is unknown or imprecise. The results will be complemented by representations of jewellery in art from other regions of the Empire but also by actual dated finds. Finally, all these factors will help to obtain a better understanding of Roman jewellery fashion, its distribution and even more which types were “à la mode” at what particular time.

Abstract This study concerns the Swedish artist Roj Friberg (1934–2016). The essay is based on a study of technique and materiality used by Friberg. He is quite marginalized and slightly forgotten in the Swedish art history and when mentioned merely described as a painter from the 1960´s who used graphite mixed with French turpentine, in order to work on the surface with an eraser attached to an electric drill. However, Friberg used other different and more complex painting techniques in his work, something this essay will notice and highlight. The used method is a biographical, dealing with the references to Friberg. To explain why he was considered an “outsider” in Swedish art, the theory of social capital by Pierre Bourdieu is applied. Also, Wolfgang Kemps concept of reception history, which focus on the arts beholder, rather than the artists itself. From the middle of 1970 Friberg also used an ancient painting technique called encaustic, heated beeswax mixed with pigment. Paintings which have received very little attention; therefore, the focus is on his use of encaustic in combination with his other techniques, such as melted graphite, melted wax crayons or drawn with wax crayons and graphite. The work with lasered layers and the typical method of working from darkness to light in Friberg´s pictures shows resemblance with the ancient encaustic portraits from Fayum, in the 50 AD.