Hatshepsut was the first woman pharaoh ever recorded in history. Although there are a few obvious breaks, this granite sculpture was put back together nicely. Because this piece is so important, the Metropolitan Museum of Art has to be careful of what to light up on the sculpture. This does not look easy because the statue is so massive, but the Met did a good job capturing the face with light, and the top of the orbs. The shadows also reflect how angular this statue really is, and the unrealistic body of the woman pharaoh Hatshepsut.
Her face is empty and has no meaning because it is what women was for at that time. The face of women was not important to keep the family line or the clan strong. Men wanted women who had more female features which they think can make their children healthy and strong. So then, the women’s body on the statue shows bigger breast and hips because that
The main purpose of this paper is to describe the visual analysis of the artwork. This paper examines an Egyptian half nude portrait art which is taken from Metropolitan Museum of Art (Fig.1). The statue characterized both male and female seated figure with a Braid hair. In this essay, I will present a complete visual description of this artwork (its preservation, costume and iconography), and then I will compare it to another artwork which is chosen from Textbook that is Akhenaten and his Family (Fig. 2).
With the sculpture straight ahead, the audience sees a profile view of the scene; however, the artist created the sculpture with enough space and depth to be able to view the front of the woman’s face from a side angle. The artist created the seated woman with much detail; her nose, chin, slightly opened mouth, pronounced brow line and inset eyes show this. She reaches for the chest with her right arm in a very delicate manner as her left arm lays on the throne for support.
In addition, the artifact was created by limestone which was then protected with modelled gypsum. The bust was created with only eye that was ornamented with crystal and the pupil has black wax. The second eye was never finished with the crystal and wax. The paint that was used in the bust as well shows us clues on its age, which seems to reinforce the idea that it is authentic. However, others say that it is not an authentic example of Egyptian sculptures because of the constant debate concerning the bust having only one eye, decorated and how the ancient Egyptians would have considered this to be the ultimate form of disrespect towards their queen. Another theory that circulated regarding the bust being a fake was Henri Stielin a Swiss art historian proposed that Nefertiti’s shoulders were designed vertically and that normally the ancient Egyptians cut shoulders horizontally for their busts which means that it does not seem to follow the usual expectations or ideas that some people might have of Egyptian
The reliefs of Ankh-neb-ef are limestone panels with paint that originated from the Old Kingdom of Egypt in 2150 BC during the reign of Pharaoh Pepy II. The delicate carving of the panels in the sunken relief presents a magnificent image. They portray Ankh-neb-ef, an ancient Egyptian priest whose name translates to “may his lord live.” In the reliefs, Ankh-neb-ef holds a Kherep-sceptor and a walking stick, which were symbols of authority in ancient Egypt. Egyptian civilization was extremely religious and most ancient Egyptian artworks involved the portrayal of gods, goddesses, and Pharaoh, as well. Moreover, the Egyptian reverence for order and conservative ideals led to the institution of intricate rules that governed how artists represented both humans and gods (Saylor.org 4). For instance, the apparel worn by Ankh-neb-ef in the painting is not a simple fashion statement. The priest is wearing a prestigious sarong and ornamentation, bracelets, and a wide collar. The jewelry kept their owner safe in a dangerous passage to the afterlife. This formula for representing the human figure in a painting remained popular over several centuries (Robins 24).
For over a decade Nefertiti, wife of the Pharaoh Akhenaten originally known as Amenhotep IV, was an influential woman in the Bronze Age. Her image and name were renowned throughout Upper and Lower Egypt. Suddenly, after the end of the reign of Akhenaten, Nefertiti disappeared from the royal family, vanishing so completely that it was as if she had never been. No known record survives to detail her death; no found monument serves to represent the mourning of her death.
The Bust of Queen Nefertiti, which was created in 1340 BC by an unknown artist, is perhaps the most famous depiction of the Queen during her reign. The bust, being held at the Egyptian Museum in Berlin, shows an important connection between the artist and the queen herself
When analyzing the artwork one can see the influence of what we now understand to be art form, through the numerous art elements the painting of Queen Nefertari and Isis has. Starting with lines, the artist uses many types of both regular and irregular, to create the hieroglyphics and the shape of the women along with what they wear. The ancient Egyptians liked to have things in order and consistent. We see the proof for this behind their canon of proportions method. In order to make complex figures easier to depict, the traditional style and trademark of ancient Egyptian artworks show everything drawn or carved to be two-dimensional in shape. However, they also wanted to show the aspects they valued the most as a society. As stated in the film How Art Made The World, in the case of the human body ancient Egyptian chose to show each body part from its clearest angel; and as a result of a keeping the figures 2-D, the chest is shown straight on, the face is shown in profile but the eyes were drawn straight on, the arms and hands can be
The depiction of Lady Sennuwy and Priestess Burning Incense are strong representations of this evolution of women in art. The first work of art is Lady Sennuwy from Middle Kingdom, Egypt. This statue is from approximately the 12th Dynasty of Egypt. The statue is a sculpture
This Goblet Inscribed with the names King Akhenaten and Queen Nefertiti, is made of travertine, (Egyptian alabaster) height 5 ½ in diameter 4 1/8 in. (MET). When I look at this piece I feel it may commemorate a wedding, anniversary, or King Akhenaten’s deep love and affections for his principal Queen Nefertiti. This Piece encompasses the changes King Amenhotep is making in the Egyptian culture, as the previous artworks and vessels have a much different look and style. King Akhenaten has as of yet changed his name as the cup shows the name Amenhotep IV and his principal Queen Nefertiti. This places the goblet at about 5 years into King Akhenaten’s rule over Egypt. The Goblet is not a typical show of craft for that time in Egypt.
This is Akhenaton from the Amarna period. This art work makes some differences from the regular art work at that time. It did not follow the Ancient Egyptian canon rules. Ancient Egyptian canon art work means they have to follow the same rules which their height and width have the geometrical proportion (also known as classical proportion). Comparing to previous art work, this art work does not have geometrical proportion. For example, we can see weak arms, a narrow waist, protruding belly on it. Therefore, it does not adhere the canon in this art
This artwork is very different and much unknown. This painting does not have a well-known artist. This painting is a mystery to me, because it doesn’t talk about why or who painted this painting. I think the meaning of the painting represent the fact that it’s a painting that is well known in Egypt, but the paintings are of men and women. I think the photos in Egypt are popular. I think a lot of people have drawn this picture and its own version of Mummy Portrait of a Man. I chose this painting, because I thought it would be an easy picture to write about. But this picture has not been the easiest to write about. This painting is a challenge and it makes you really think and research things on it. I wish it was more information on this painting, that way I would be able to go into full detail on this painting. There are no evident themes of this artwork. It’s really just
During early dynasty Egypt period, Egypt’s kings were reverted as gods in human form. So, Egyptian sculptor created statues of their kings and queens. After creating the statue
To begin, the proportion of the woman’s gaze accentuates perfection. The eyes introduces a sense of nobility to the piece acquiring a softness at the gaze. Painted with a spherical shape, it allows the appearance to emerge mysteriously throughout the portrait and I quote “Through their roundness, therefore, the mind, knowing itself, is sometimes forced to reveal the secrets thoughts of their