Nefertiti Bust Analysis

In my essay, I will compare and contrast two historical pieces. The first one is the Victory Stele of Naram-Sin. The stele was made by the Mesopotamian empire during the Akkadian period, which was from 2254 to 2218 BCE. It was founded in Susa, present-day Shush, Iran. The second piece is the Palette of Narmer. The palette was made by the nation during the Egyptian period during 3000-2920 BCE. Both of the objects convey different messages in them through their visual construction. First I will discuss the scenes in the objects, then I will discuss the composition, and lastly, I will explain what the pieces were made of and how tall they are.

My experience from the trip to the Metropolitan museum of Art was very interesting because I got to see many valuable things that was used in the past such as, jars, jewelries and spears. As I was walking around the museum there was three statues that truly caught my attention and interested me the most. The first statue that interested me the most was called the “Hatshepsut Wearing the Khat Headdress”. This statue, represented a woman that was sitting down straight in a chair without having a head. Also, she looked like she was from Egypt since she was wearing a chain on her neck that only Egyptian’s women used to wear. The reason why I found this statue very interested was the way that the statue was made. For instance, this statue had a very uneven and rough texture and the color of the statue was dark grey which made it seem very mysterious and interested at the same

This paragraph will be analysing a primary source from the time of ancient Egypt. The source in particular is a painting made for Ramose, an Egyptian state administrator. He had this job during the reigns of the pharaohs Amenophis III and Akhenaten. His job was regarded very highly amongst ancient Egyptian society. This painting was made from the white limestone fond in the Valley of the Kings. The fine-grained rock that was the limestone permitted attractive decorations in full colour. It was made to decorate Ramose’s tomb and was probably painted by tomb decorators. It was probably created between 1000 BCE-1500 BCE. His tomb was in the Valley of the Kings amongst those of pharaohs, this suggests that

Since its establishment, the British Museum has been an iconic symbol of human culture, art, and history. It was built around 263 years ago and has served as the storehouse for many iconic discoveries over the centuries (Caleca, 1979). With a collection of almost 8 million artifacts and historical objects, it 's hard to choose one. Each object has its own value in the museum and reflects the ancient times (Caleca, 1979). In this paper, we will be discussing the artifact called "The Sphinx of Tharaqo” that is preserved in the British Museum.

If you want something to last for a long time, there are not many better ways to do it than in stone. Though they are separated by hundreds of years and miles, two sculptures make an interesting study in the similarities and differences in such attempts to last the test of time. The Royal Acquaintances Memi and Sabu, from approximately 2500 B.C. Egypt, captures two individuals, a male and female in simple clothing, standing and holding one another with some hieroglyphic writing on the base (Metropolitan Museum of Art, n.d.a). The Statue of Gudea, from 2090 B.C. Mesopotamia or modern-day Iraq, is a statue of a sitting male wearing seemingly special clothing and a robe upon which text is inscribed. Visual observations of the pieces may suggest some similarity, but an understanding of each with context seems to drive them further apart from one another.

When an audience views art, they see it to understand the history and the subject matter of the time it was created; although a work might be cleaned and primped to put on display, the work is expected to be a complete snapshot of something lost in time. However, Dr. Bettina Bergmann, an expert on Greek and Roman art, argues that this is not the case. In her article, “Seeing Women in the Villa of the Mysteries: A Modern Excavation of the Dionysiac Murals,” Bergmann takes her readers on a journey that exposes how the archeological practices of the 1900s and 1930s on the Villa of the Mysteries have been damaging to the frescos through illegal art smuggling, slipshod yet necessary efforts of preservation from the elements, and the attempts of monopolizing theories behind the creation of the painted

Of all the Ancient Egyptian art created to display power, none can compare to statues of Sakhmet, she who is powerful. The power that Sakhmet is named for and expresses in her ferocious attacks and protection is embodied in the diorite statue of her head in the Carlos Museum that commands the attention of all individuals who pass by. Sakhmet’s lioness head affixed with a mane or radial halo headdress protrudes from the background in an authoritative fashion that asserts her dominance as a warrior and protector. In this statue of Sakhmet commissioned by Amenhotep III, the artist’s intermixing of the naturalistic features of the female body and the head of a lioness are accentuated with geometric forms and lines that heighten Sakhmet’s power while bringing about an overall feeling of peacefulness that makes viewers feel as if they are under her protection. Similar to other Ancient Egyptian statues, Sakhmet’s form is encased in the diorite that she was carved from.

One of the most mysterious and powerful women in ancient Egypt, Nefertiti was queen alongside Pharaoh Akhenaten from 1353 to 1336 B.C. and may have ruled the New Kingdom outright after her husband’s death. Her reign was a time of tremendous cultural upheaval, as Akhenaten reoriented Egypt’s religious and political structure around the worship of the sun god Aten. Nefertiti is best known for her painted sandstone bust, which was rediscovered in 1913 and became a global icon of feminine beauty and

Ancient Egypt is one of the most well-known ancient civilisations and has an extremely deep history. Tutankhamun’s Death Mask is one of the most famous artefacts from ancient Egypt. This artefact was discovered by Howard Carter in early November of 1922, although it was not dug up until the 26th of November 1922. To a vital extent, the discovery of Tutankhamun’s Death Mask has improved modern understanding of ancient Egypt. The context, purpose and significance of Tutankhamun’s death Mask are strong points to understanding ancient Egypt.

After looking at the vast antique collection found in the Sir John Soanes’s Museum, London, I was able to identify with 2 objects that I felt had the most interest to me. Found in the Colonnade and Dome room, I will compare and contrast the statue of Apollo Belvedere, a Greek god originally made from bronze and discovered in Rome in the late 15th century. The second is a statue of the Ephesian Diana, an Egyptian sculpture derived of marble. There are a number of statues replicating the pagan goddess, Artemis from Ephesus and can be found dating back to the first and second centuries AD. The one depicted above from the Soane museum dates back to 2nd century AD, and the head turreted crown indicates this.

     The first thing that strikes an observer of these two statues is the excellent condition they are in. The paint on the two figures, Rahotep and Nefert, is extremely well preserved and there is only a miniscule amount of perceptible damage. Rahotep, who is seated on the left, retains the air of nobility and grandeur that a king’s son and high priest would have undoubtedly enjoyed during his lifetime. His wife, Nefert, sits adorned with an intricate wig and headband that match her bright jewelry and indicate her elevated social status. Together, the figures complement each other perfectly and provide a valuable glimpse into the world of non-royal funerary art of Ancient

Queen Nefertari's tomb is considered to be the largest in the Valley of the Queens. It is located in Thebes Egypt and was painted around 1260 B.C. During this era, art in Egypt consisted of the portrayal of gods and about the deceased in the afterlife. This mural depicts a god and a deceased. Also one of the major techniques in art in Egypt was the usage of hierarchical proportions, which symbolized power in paintings. Usually the Pharaoh or someone who holds some sort of power was painted bigger than any other person in the illustration. In this mural the artist did not use this technique; both of them are the same size, which indicates that they both hold certain importance in the drawing. One was a Queen and the other is considered to be a god. The mural is painted in a profile view, with only the right side of their bodies being fully visible. We are able to see both of their arms, shoulders, hands and feet. The color pallet that is used in this mural isn’t very warm, it has more of a harsh tone to it. The artist used a lot of bright and dark colors. The skin tone of the Queen and the god do not seem really naturalistic. Especially the facial features do not seem realistic. This painting would be considered to be more abstract than any other style.. The lines are very thick and dark, which causes one to see the outline around their bodies and facial features. The lack of shadows has made this mural to not have any drapery and any depth. There is no folding of their clothing. What they are wearing is drawn very flat, but with a great amount of patterns. In this painting the artist used a great deal of patterns. You can see different usages of patterns starting from the bottom of the painting till the top of the painting. What the queen and the sun god are sitting have the same pattern. It has three different colors in it black green and red. There are patterns on the queens

The British Museum in London holds many ancient pieces of art. There are so many galleries and exhibits inside the museum that several pieces do not get the attention they deserve. One such piece resides in the Assyrian exhibit inside the museum. It is a collection of three alabaster panels that act as registers of a narrative story. The expertly carved reliefs illustrate the great lion hunt performed by an Assyrian king in an arena. So much emotion is portrayed in the brutal imagery of the lion hunt. These great alabaster slabs once resided in an Assyrian palace in present day Nineveh. The reliefs were excavated in the 1840’s by Hormuzd Rassam, employed by Austen Henry Layard of the British Museum. Rassum found the palace by secretly digging at night because the site was originally claimed by French archeologist Victor Place. Since the excavation, the lion hunt reliefs have been displayed in the British Museum. The lion hunt reliefs features so many qualities ranging from historical to artistic. In this report the topic of why the reliefs were made, how they represented the king, the symbolism of the lion, and artistic prowess of the piece will be exposed.

The small relief, Akhenaten and Nefertiti and their Children, represents unprecedented changes in the depiction of Egyptian rulers. This piece shows a very naturalistic view of the human body in that the proportions are not idealized, but it also parallels previous works with the frontal torso and profiled head and legs. Depictions of leaders in this way were as unseen before Akhenaten. Although the

Looking through the many alluring artifacts in the Egyptian exhibit of the National Museum Of Natural History, one will tend to not notice every single amazing piece of history. One artwork stands out from the usual Egyptian artwork society as a whole has become used to. The Fayum Portrait from 50-200 AD. It comes from the Fayum agricultural region where a mixed Egyptian and Greek population lived for about four centuries.