The Veil of Saint Veronica

by 16th century ArtArtBasil and Elise Goulandris Foundation AthensHigh RenaissancePowerpointsRenaissanceRenaissance Art
Domenikos Theotokopoulos (El Greco), 1541 – 1614
The Veil of Saint Veronica, the early 1580s, Oil on Canvas, 51 × 66 cm, Basil and Elise Goulandris Foundation, Athens, Greece
https://goulandris.gr/en/artwork/el-greco-the-holy-face

VII And a certain woman named Bernice (or Beronikē, meaning in Greek “bearer of victory”) (Veronica Lat.) crying out from afar off said: I had an issue of blood and touched the hem of his garment, and the flowing of my blood was stayed which I had twelve years. The Jews say: We have a law that a woman shall not come to give testimony… Part VII of the Apocryphal Gospel of Nicodemus or Acts of Pilate, is considered to be the first reference to the story of a woman called Veronica related to the Passion of Christ. This is where and how the legend of the Veil of Saint Veronica starts… https://en.wikisource.org/wiki/The_Apocryphal_New_Testament_(1924)/Passion_Gospels/The_Gospel_of_Nicodemus

Hundreds of years later… The Estoire del Saint Graal, part of a larger work called the Lancelot-Grail or Vulgate Cycle, attributed to Robert de Boron, and written circa 1230, tells us the famous story of Veronica’s Veil as we know it today. My lord, says Veronica, on the day that the Holy Prophet was led away to be crucified, I passed before Him carrying a piece of cloth to sell. He called me and beseeched me to lend Him this cloth to wipe His face, which was dripping with sweat. After He had done so, I folded the cloth and took it home. And when I unfolded it, I found Jesus’ face as clear as if it had been painted on a wall. Since then I have kept it, and no matter how sick I have been, once I looked at it, I was completely healed. https://www.academia.edu/12112461/St_Veronica_Evolution_of_a_Sacred_Legend

Thus… the legend of Veronica’s Veil, the Acheiropoietos Icon of Christ’s image on a simple piece of cloth, became a great source of inspiration for many distinguished artists of the Renaissance like Memling, Bosch, Pontormo, and Dürer. It has been depicted as a symbol of piety, devotion, and faith. The imprint of Jesus’ face on the cloth is seen as a testament to his suffering and a reminder of his sacrifice on the cross. The veil has also been used as a symbol of comfort and solace, particularly for those who are suffering or in need of healing. It has also been seen as a reminder of Jesus’ love and compassion, and as a symbol of hope in the face of adversity. When Greco decided in 1577 to approach the subject of Veronica’s Veil, he joined an already well-established tradition in the Catholic iconography. https://goulandris.gr/en/artwork/el-greco-the-holy-face

Whether alone or in collaboration with apprentices in his studio, Domenikos Theotokopoulos carried out several paintings on this subject. In some of them, he focused merely on Christ, while in others he represented the veil as well. The painting in the Museo de Santa Cruz, in Toledo, includes the portrait of Saint Veronica as well. https://goulandris.gr/en/artwork/el-greco-the-holy-face

The painting of The Veil of Saint Veronica in the Basil and Elise Goulandris Foundation in Athens, is, in my humble opinion, a version realized δια χειρός Domenikos Theotokopoulos.  

Domenikos Theotokopoulos (El Greco), 1541 – 1614
The Veil of Saint Veronica (detail), the early 1580s, Oil on Canvas, 51 × 66 cm, Basil and Elise Goulandris Foundation, Athens, Greece
https://goulandris.gr/en/artwork/el-greco-the-holy-face

The face of Christ looks tranquil, genteel, and collected. It appears to float on the moving surface of the silken Veil, bathed in light that ‘shines’ from within, rather than an external source. The composition, developed in three successive planes, is composed yet dramatic, as Christ’s face is placed first, on the white surface of the Veil, and then, on the bleak, black background of the painting. 

Domenikos Theotokopoulos (El Greco), 1541 – 1614
The Veil of Saint Veronica (detail), the early 1580s, Oil on Canvas, 51 × 66 cm, Basil and Elise Goulandris Foundation, Athens, Greece
https://goulandris.gr/en/artwork/el-greco-the-holy-face

The Goulandris painting of Veronica’s Veil summarizes El Greco’s entire aesthetic journey. Emotionless and serene, with hollow cheeks, a long and narrow face, and …almond-shaped eyes, Greco’s painting communicates a sense of nobility and grace. The wounds caused on his head by the crown of thorns do not affect Him at all. The single drop of blood running down in the middle of His forehead offers no pain… it symbolizes the route to Calvary, His immortality… and humanity’s salvation… https://goulandris.gr/en/artwork/el-greco-the-holy-face

Καλή Ανάσταση!

For a PowerPoint on El Greco’s rendering of the theme of The Veil of Saint Veronica, please… Check HERE!

Holy Monday – Μεγάλη Δευτέρα

by 16th century ArtArtItalian Renaissance ArtPowerpointsRenaissance
Domenikos Theotokopoulos (El Greco), 1541 – 1614
Christ Driving the Money Changers from the Temple, c. 1570-75, oil on canvas, 115.57×147.32 cm, Minneapolis Institute of Arts, MN, USA https://collections.artsmia.org/art/278/christ-driving-the-money-changers-from-the-temple-el-greco

On reaching Jerusalem, Jesus entered the temple courts and began driving out those who were buying and selling there. He overturned the tables of the money changers and the benches of those selling doves, and would not allow anyone to carry merchandise through the temple courts.  And as he taught them, he said, “Is it not written: ‘My house will be called a house of prayer for all nations’? But you have made it ‘a den of robbers.’” The chief priests and the teachers of the law heard this and began looking for a way to kill him, for they feared him, because the whole crowd was amazed at his teaching. When evening came, Jesus and his disciples went out of the city. (Mark 11:15-19 Holy Monday – Μεγάλη Δευτέρα) https://www.biblegateway.com/passage/?search=Mark%2011&version=NIV

El Greco’s painting of Christ Driving the Money Changers from the Temple in The Minneapolis Institute of Arts presents a dramatic scene from the New Testament, told in all the Gospels. According to the Gospels, Jesus entered the Temple in Jerusalem and became angered by the commercial activities taking place there. He overturned the tables of the money changers and drove them out, accusing them of turning the temple into a marketplace. This scene was rarely painted in its own right before the Reformation. After the Council of Trent, it gained a new significance and for the Catholics, the image came to symbolize the purification of the Church through internal reform. https://collections.artsmia.org/art/278/christ-driving-the-money-changers-from-the-temple-el-greco

The Minneapolis painting is known for its powerful composition, dynamic figures, and vibrant colors. It was probably executed in Rome, in about 1570/1575. Set in a grand architectural interior, the scene reflects El Greco’s experiments with Italian linear perspective and break from the Byzantine style he employed in the Greek icons painted, while in Crete, in his youth. The composition seems less crowded, and the figures, distorted, but fuller and more clearly articulated, dominate the spatial setting. The lines are bold, the brushstrokes are expressive, and the colours are intense and pulsating. The use of light and shadow is masterful, casting a theatrical glow over the scene, highlighting the central figure of Christ, and adding to the sense of drama. Overall, the painting is a powerful and emotive depiction of this moment in the life of Jesus. https://collections.artsmia.org/art/278/christ-driving-the-money-changers-from-the-temple-el-greco

Christ Driving the Money Changers from the Temple is a theme that interested El Greco throughout his career. He painted this subject at least five times. What distinguishes the Minneapolis version is the inclusion of four male portrait heads in the lower-right corner of the painting. It turns out that these four men are famous artists whose lives and work inspired El Greco. They are four major figures in the arts during the Renaissance, and they are, from the left: Titian, Michelangelo, Giulio Clovio, and Raphael.

For Holy Monday – Μεγάλη Δευτέρα and a PowerPoint of all five versions of El Greco’s painting of Christ Driving the Money Changers from the Temple, please… Check HERE!

Domenikos Theotokopoulos (El Greco), 1541 – 1614
Christ Driving the Money Changers from the Temple (Detail), c. 1570-75, oil on canvas, 115.57×147.32 cm, Minneapolis Institute of Arts, MN, USA https://www.flickr.com/photos/museumnerd/5207337688

Face to Face with Emperor Ioannis VIII Palaiologos

by 15th century Italian Renaissance ArtArtPowerpointsRenaissance
Pisanello’s Medallion of Ioannis VIII Palaiologos, a loan from the Galleria Giorgio Franchetti at the Ca’ D’Oro, Venice, as exhibited in the Hôtel de la Marine, in Paris, France, My amateurish attempt at photography…

A page of Pisanello’s sketchbook in the Louvre Museum presents the mounted figure of the Byzantine Emperor Ioannis VIII Palaiologos and the short descriptive passage reads… The hat of the Emperor should be white on top and red underneath, the profile red all round. The doublet is green damask and the mantle on top crimson. A black beard on a pale face, hair and eyebrows alike. The eyes between grey and green, and the stooped shoulders of a small person. The boots of pale yellow leather; the sheath of the bow brown and grained, and also that of the quiver and of the scimitar. On the 5th of March, while in Paris, I visited the Hôtel de la Marine, and I came Face to Face with Emperor Ioannis VIII Palaiologos. Pisanello’s famous Medallion of the penultimate Byzantine Emperor was among the selected artifacts presented at the Exhibition Ca’ d’Oro, Masterpieces of the Renaissance in Venice (November 30, 2022 – May 7, 2023). I was touched… Some Preparatory Drawings for Pisanello’s Medallion of John VIII Palaeologus, by Michael Vickers, The Art Bulletin, Vol. 60, No. 3 (Sep. 1978), pp. 417-424 (8 pages) https://www.jstor.org/stable/3049816?read-now=1&seq=8#page_scan_tab_contents

Pisanello’s Medallion and two pages with preparatory drawings and comments, by Pisanello as well, one in the Louvre, the other in the Art Institute of Chicago, are vital in reconstructing the features and the physique of the Emperor. The Medallion I saw in Paris, like the rest of the exhibited artworks, loans from the Galleria Giorgio Franchetti at the Ca’ D’Oro, Venice, was an opportunity to read and refresh my knowledge of Ioannis VIII Palaionogos… his ‘works and days.’ https://www.thealthanicollection.com/hdlm/ca-doro-masterpieces-of-the-renaissance-in-venice

Ioannis VIII Palaiologos (or John VIII Palaiologos) was a Byzantine Emperor who ruled from 1425 to 1448. He was born on December 18, 1392, as the oldest son of Emperor Manuel II Palaiologos and Helena Dragaš. He was an intellectual, well-educated, and a patron of arts and learning. He was fluent in several languages, including Greek, Latin, and some Turkish. His reign was marked by a series of desperate attempts to save the Byzantine Empire from its rapid decline, particularly due to the increasing pressure from the Ottoman Empire.

In an effort to save his empire, he sought the aid of the West by advocating for a union of the Eastern Orthodox Church and the Roman Catholic Church. This led him to attend the Council of Ferrara/Florence (1438-1439), where he personally negotiated with Western leaders and agreed to a theological compromise that would allow for the churches to reunite. However, this decision was met with strong opposition from many within the Byzantine Empire, particularly the clergy and the people who saw the reunion as a betrayal of their Orthodox faith. Ultimately, the church union failed to secure the military and financial assistance Ioannis had hoped for, and the empire’s decline, continued, with a loss of territory and influence. Ioannis VIII Palaiologos died on October 31, 1448. Five years later, the Byzantine Empire ceased to exist. It was the 29th of May, 1453.

The Medallion of John VIII Palaiologos is a bronze portrait medal created by the renowned Italian artist Pisanello in 1438. This medallion, an outstanding example of Renaissance art, is considered one of the earliest examples of portrait medals in the history of art and stands as a testament to the diplomatic, cultural, and artistic exchanges that occurred during this tumultuous period in history. The medal is not only significant for its portrayal of the Byzantine Emperor but also for its role in the development of the art of medal-making in Europe.

Pisanello, c. 1395 – 1455
Medal with John VIII Palaeologus (Ioánnis VIII), Emperor of Constantinople, 1438, National Gallery of Art, Washington, DC, USA
https://www.nga.gov/collection/artist-info.2228.html#works

Looking at Pisanello’s portrait of the Emperor, I wonder how John VIII Palaiologos felt during his trip to Italy. I am sure he hoped that by engaging in negotiations and pushing for the reunification of the Eastern Orthodox and Roman Catholic Churches, he could secure much-needed assistance from Western Europe. At the same time, he was also likely to have felt anxiety and pressure. The theological differences between the two churches were deeply rooted, and reaching a compromise would be a delicate and complex process. Furthermore, the Byzantine Emperor had to navigate diplomatic and protocol arrangements that were probably, at times, difficult and offensive, to put it politely.

Pisanello keeps his distance from the political intrigues and nuances. On the obverse side, the Emperor is depicted, in profile, dignified, imposing, and elegantly groomed. The artist displays individualized facial features, such as his well-groomed beard, high forehead, and strong nose. These details suggest an attempt to capture the likeness of the Emperor, rather than relying on stylized or idealized forms that were common in earlier periods. The clothing and adornments the Emperor wears, like his characteristic hat, reflect the luxurious aspects of Byzantine culture and provide a sense of authenticity to his portrayal. Around the perimeter of the obverse side, an inscription, in Greek, identifies the Emperor by name and title.

The reverse side of Pisanello’s Medallion, ‘signed’ by the artist in Latin and Greek, shows something entirely different. The Emperor, identified by his characteristic hat, is depicted astride his famous Eastern European horse, groomed for hunting. He is probably presented in the area of his residence, a convent outside Ferrara, where he indulged in his passion for the chase during the autumn of 1438. Was the Emperor depicted enjoying ‘personal time’ of relaxation, away from tension and stress? I wish he did…

For a PowerPoint inspired by Face to Face with Emperor Ioannis VIII Palaiologos, please… Check HERE!

For Face to Face with Emperor Ioannis VIII Palaiologos and Pisanello’s Medallion, please Check…

Some Prepatory Drawings for Pisanello’s Medallion of John VIII Palaeologus, by Michael Vickers, The Art Bulletin, Vol. 60, No. 3 (September 1978), pp. 417-424 (8 pages) https://www.jstor.org/stable/3049816?read-now=1&seq=8#page_scan_tab_contents

Some Notes on Pisanello and the Council of Florence, by James A. Fasanelli, Master Drawings, Vol. 3, No. 1 (Spring, 1965), pp. 36-47+84-93 (22 pages) https://www.jstor.org/stable/1552781?read-now=1&seq=10#page_scan_tab_contents

The Emperor John VIII Slept Here… by Kenneth M. Setton, Speculum, Vol. 33, No. 2 (April 1958), pp. 222-228 (8 pages) https://www.jstor.org/stable/2850780?read-now=1&seq=8#page_scan_tab_contents

The Tomb of Tutankhamun

by ArtEgyptEgyptian ArtLesson PlansPowerpoints

Howard Carter with Innermost Coffin of Tutankhamun photographed by Harry Burton, 1922 (Tutankhamun Archive, Griffith Institute, University of Oxford) https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/ancient-egypt-ap/a/tutankhamuns-tomb

“It was sometime before one could see, the hot air escaping caused the candle to flicker, but as soon as one’s eyes became accustomed to the glimmer of light the interior of the chamber gradually loomed before one, with its strange and wonderful medley of extraordinary and beautiful objects heaped upon one another.” This is how Howard Carter, the archaeologist who discovered The Tomb of Tutankhamun describes the moments he first set eyes on the Pharaoh’s place of rest… At first, Carter continues, I thought I was looking at wall paintings; it was a moment before I realized I was seeing actual three-dimensional objects. Carnarvon, my patron, couldn’t bear it any longer. “Can you see anything?” he demanded… Yes, wonderful things… was all I could say! https://www.smithsonianmag.com/history/how-howard-carter-discovered-king-tuts-golden-tomb-180981052/

There is so much to explore… A PowerPoint (…please Click HERE!) presenting over one hundred artifacts will help us understand the ‘secrets’ of Tutankhamun’s Tomb, the story of its incredible discovery, and the beauty of the artifacts found inside. The Golden Mask of the Pharaoh, his Aton Throne, the Golden figure of Tutankhamun, the Harpooner, and the actual mummy, are just four of the over five thousand items discovered inside the Tomb… clues to our exploration and a path for exciting discoveries! Four answers to four questions… and our 4-Steps to Success Lesson Plan will keep us… on track!

Who was Tutankhamun? Tutankhamun was an Egyptian pharaoh who ruled during the 18th dynasty of ancient Egypt. He was born around 1341 BC, during the reign of his father, the pharaoh Akhenaten. He became pharaoh around the age of 9 or 10, reigned for around 10 years, and he died at the age of 18 or 19. The exact details of Tutankhamun’s life and reign are not well-known, as he was not a particularly powerful pharaoh during his lifetime. However, his tomb and its contents have provided valuable insights into the art, culture, and society of ancient Egypt during the New Kingdom period.

Was the reign of Tutankhamun important? If so, explain why or why not. Tutankhamun came to the throne at a young age, and his rule was short, lasting around ten years. He was the son of Akhenaton, the pharaoh who introduced a new religious system in which the god Aton was worshipped as the main deity, and the traditional Egyptian gods were largely eliminated. This significant departure from the established religious practices of ancient Egypt caused upheaval and destabilization during Akhenaten’s reign. While on the throne of Egypt, Tutankhamun chose to abandon the religious reforms introduced by his father and take steps toward the restoration of the traditional gods and religious practices of ancient Egypt. This religious decision was a key factor in bringing back stability to the country, and an important accomplishment of his reign.

Why was the discovery of the Tomb of Tutankhamun important? The discovery of the Tomb of Tutankhamun in 1922 by Howard Carter is considered important for several reasons. Firstly, the tomb was found almost completely intact, providing an unprecedented glimpse into the burial practices and beliefs of the ancient Egyptians. Additionally, the tomb contained a wealth of valuable artifacts, including a solid gold coffin, jewelry, and other grave goods. Finally, the discovery of the tomb helped to reignite global interest in Egyptology and continues to be an important cultural and historical discovery.

What do Tutankhamun’s funerary possessions reveal about Egyptian Art? The artifacts found in the tomb, such as the jewelry, statues, and furniture, provide insight into the materials and techniques used by ancient Egyptian artists and artisans. They also reflect the religious beliefs and practices of the time, as well as the status and wealth of the pharaoh buried in the tomb. Furthermore, the tomb provided a glimpse into the daily life of the Egyptian elite… their fashion, beauty products, and the importance of the afterlife in their culture. The artifacts from Tutankhamun’s tomb are also considered masterpieces of ancient Egyptian art, their quality, and preservation are considered unmatched.

For the New Kingdom, the Amarna Period, Timeline, please… Check HERE!

Enjoy Tutankhamun: The Truth Uncovered This documentary was produced by the Discovery Channel and aired in 2020. It presents new evidence and theories about the life and death of Tutankhamun, as well as the discovery of his tomb. https://www.youtube.com/watch?v=pI-1eZ2SiRs

Another Video about Tutankhamun’s Treasures by National Geographic… https://www.youtube.com/watch?v=-obKX-mqjXQ

A Khan Academy Presentation on Tutankhamun’s Tomb… https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/ancient-egypt-ap/a/tutankhamuns-tomb

The Twelve Months of Flowers, March

by 17th century ArtArtBaroquePowerpoints
Pieter Casteels III (Flemish Painter- 1684–1749), H. Fletcher (British Engraver- active 1715–1738), Robert Furber (British Horticulturist and Publisher- c. 1674–1756)
March, from Twelve Months of Flowers, 1730, Hand-colored Etching on
Paper, 53.9 × 43.8 cm, Private Collection
https://www.artic.edu/artworks/127982/march-from-twelve-months-of-flowers

Snowy, Flowy, Blowy,     /     Showery, Flowery, Bowery,     /     Hoppy, Croppy, Droppy,     /     Breezy, Sneezy, Freezy… wrote George Ellis, best known as a satirical writer in both prose and verse, and I think of The Twelve Months of Flowers, March… the wonderful set of hand coloured engravings masterminded by Pieter Casteels III, Henry Fletcher, and Robert Furber! https://allpoetry.com/The-Twelve-Months

Who was Pieter Casteels III? Pieter Casteels III was a leading Flemish artist of lavish Still Life paintings. He was born in Antwerp, the son of Pieter Casteels II, a painter of landscapes and history paintings. He trained with his father, but soon, as early as 1708, he traveled to England where he established himself first as a copyist of Old Masters, and later, after 1717, as a successful painter of exotic Still Life paintings of flowers, game, and birds that chiefly served a decorative purpose, as over-door and over-chimney pieces of ornamentation. In England, Pieter became an active participant in London’s artistic community, subscribing to the Kneller Academy of Painting and Drawing in 1711 and becoming a member of the Rose and Crown Club. https://en.artsdot.com/@@/A2686B-Pieter-Casteels-Iii-Bouquet-of-flowers-in-an-urn-on-postamente

Pieter Casteels III (Flemish Painter- 1684–1749), H. Fletcher (British Engraver- active 1715–1738), Robert Furber (British Horticulturist and Publisher- c. 1674–1756)
March, from Twelve Months of Flowers (Detail), 1730, Hand-colored Etching on Paper, 53.9 × 43.8 cm, Private Collection https://www.aspireauctions.com/#!/catalog/98/545/lot/25670/image

Who was Henry Fletcher? Fletcher was a London-based engraver possessing artistic merit. He excelled as an engraver of flowers, notably The Twelve Months of Flowers and The Twelve Months of Fruits, engraved from drawings by Pieter Casteels, made in 1730 for a publication by Robert Furber, the well-known gardener. His vignettes for the first edition of Voltaire’s Henriade, published in London in 1728, were equally noted by the art critics of the time, along with his set of Views of Venice, engraved after Canaletto. https://en.wikipedia.org/wiki/Henry_Fletcher_(engraver)

Who was Robert Furber? Robert Furber was a British horticulturist and the author of the first seed catalogue produced in England. He had a nursery in Kensington in London, near modern Hyde Park Gate, from around 1700 until his death in 1756. Furber was also a member of the “English Society of Gardners”, a group formed in 1724 to protect the reputations of plant growers.

During the 1730s Casteels became interested in the business of printing and came into partnership with leading professionals like the engraver Henry Fletcher, and the nurseryman Robert Furber. Each one of the three invested £500, and undertook the commercial venture of designing, producing, and selling sets of hand-coloured engravings to a group of subscribers. The Twelve Months of the Year is one such set, the most popular and ambitious of all sets, the team had created.

The Twelve Months of Flowers, March is the third month of the year presentation of the first illustrated nursery catalogue published in England. It presents twelve pages of different flower arrangements, one for every month of the year, that illustrate seasonal flowers, more than 400 different species, that could be ordered from Furber’s nursery. To facilitate the subscriber of the set, each presented flower is marked by a number, and the list of the corresponding species names is provided at the bottom of each page. No wonder the well thought and carefully executed business venture by Casteels, Fletcher, and Furber became an instant artistic hit and a great economic success! https://en.artsdot.com/@@/A2686B-Pieter-Casteels-Iii-Bouquet-of-flowers-in-an-urn-on-postamente

For a PowerPoint of the set The Twelve Months of Flowers, March, please… Check HERE!

The Art of the Amarna Period

by ArtEgyptEgyptian ArtLesson PlansPowerpoints
The Bust of Nefertiti by Thutmose, 1340 BC, Limestone, and stucco, Height 48 cm, Egyptian Museum, Berlin, Germany
https://www.dw.com/en/egypt-vows-to-step-up-hunt-for-nefertiti/a-18753507

“With the move to Amarna the art becomes less exaggerated, but while it is often described as ‘naturalistic’ it remains highly stylized in its portrayal of the human figure. The royal family is shown with elongated skulls and pear-shaped bodies with skinny torsos and arms but fuller hips, stomachs, and thighs. The subject matter of royal art also changes. Although formal scenes of the king worshipping remain important there is an increasing emphasis on ordinary, day-to-day activities which include intimate portrayals of Akhenaten and Nefertiti playing with their daughters beneath the rays of the Aten… While traditional Egyptian art tends to emphasize the eternal, Amarna art focuses on the minutiae of life which only occur because of the light – and life-giving power of the sun.” writes Dr Kate Spence for BBC History and I use this quote as an introduction to The Art of the Amarna Period, my new BLOG POST on Egyptian Art.     http://www.bbc.co.uk/history/ancient/egyptians/akhenaten_01.shtml

I would like to continue with another short quote by Dr Kate Spence “Akhenaten is a source of endless fascination and speculation – this often masks the fact that we actually know very little about him.” This quote can actually mark the beginning of any Unit on the Art of the Amarna Period. I have been teaching this Unit for years and I can only testify to the fact that the Amarna Period allure, attracts my student’s attention and captivates their imagination. They like to read and listen to their teacher describe the genesis of an almost “monotheistic” religion, the dynamics within a powerful royal family, the building of a new capital city, and how Egyptian Art of the period moved towards naturalism and informality.

The Amarna Idiom is an artistic style that captivates human reaction. My students are “hypnotized” by the unique Amarna pictorial beauty of deformation. They are charmed, yet question how in the depiction of faces, thin, long necks, hold greatly elongated skulls… facial folds are the norm, narrow, slitted eyes are prominent, and jaws seem to be “hanging” low. The Amarna style body rendering amazes my students as well, particularly the discrepancy between the upper, lower, and middle parts of the human body… the dropped, thin shoulders, heavy potbelly, large hips, and thighs, and the rather thin almost frail, legs.

Known especially for Akhenaton’s radical religious reforms, the Amarna period leads to endless speculation about the Pharaoh’s background and motivation, the role played by Nefertiti and the Royal women, and the new artistic quest for naturalism and informality. From ca. 1353 to 1336 BC, Egypt stood still… went through changes, the country never experienced before… and then, radically, once more, moved back to its familiar norms!

There is so much to explore… A PowerPoint, presentation of over fifty artifacts will assist us in further understanding the ‘secrets’ of Art during the Amarna Period, and our 4-Steps to Success Lesson Plan will keep us… on track!

For the PowerPoint ‘The Art of the Amarna Period’, please… Check HERE!

For the New Kingdom/Amarna Period Timeline, please… Check HERE!

For a Teacher Curator BLOG POST on The Formidable Queen Tiye, mother of Pharaoh Akhenaton, please check… https://www.teachercurator.com/ancient-egypt/the-formidable-queen-tiye/?fbclid=IwAR2eC69pTXFUqA3Yg2fR4SoWp_3dmiezQ-hLeNt83piI-sRSLLfGTl0twv0

Enjoy a BBC Documentary titled Amarna, Egypt’s Lost City… https://www.youtube.com/watch?v=1ucVQj9eNBA

Two more Videos about Akhenaten, Nefertiti, and Three Daughters and the Portrait head of Queen Tiye with a crown of two feathers by Khan Academy… https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/x7e914f5b:new-kingdom-third-intermediate-period/v/house-altar-depicting-akhenaten-nefertiti-and-three-daughters and https://www.khanacademy.org/humanities/ancient-art-civilizations/egypt-art/x7e914f5b:new-kingdom-third-intermediate-period/v/portrait-head-of-queen-tiye-with-a-crown-of-two-feathers

A National Geographic Video on The Mystery of Queen Nefertiti | Lost Treasures of Egypt… https://www.youtube.com/watch?v=Eex2Vu6iGy8

Diana and her Companions by Vermeer

by 17th century ArtArtBaroqueExhibitionsMythologyPowerpoints
Johannes Vermeer, 1632-1675
Diana and Her Companions, circa 1653-1656, oil on canvas, 98.5×105 cm, Mauritshuis, The Hague, Netherlands
https://commons.wikimedia.org/wiki/File:Vermeer_-_Diana_and_Her_Companions.jpg

I read Homeric Hymn 27 dedicated to Goddess Artemis… I sing of Artemis, whose shafts are of gold, who cheers on the hounds, the pure maiden, shooter of stags, who delights in archery, own sister to Apollo with the golden sword. Over the shadowy hills and windy peaks she draws her golden bow, rejoicing in the chase, and sends out grievous shafts. The tops of the high mountains tremble and the tangled wood echoes awesomely with the outcry of beasts: earthquakes and the sea also where fishes shoal. But the goddess with a bold heart turns every way destroying the race of wild beasts: and when she is satisfied and has cheered her heart, this huntress who delights in arrows slackens her supple bow and goes to the great house of her dear brother Phoebus Apollo, to the rich land of Delphi, there to order the lovely dance of the Muses and Graces. There she hangs up her curved bow and her arrows, and heads and leads the dances, gracefully arrayed, while all they utter their heavenly voice, singing how neat-ankled Leto bare children [20] supreme among the immortals both in thought and in deed. Hail to you, children of Zeus and rich-haired Leto… and examine the painting Diana and her Companions by Vermeer. Why am I so attracted to this very early painting, probably a surviving first, by the great Dutch painter of the Baroque period? What can I learn? https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0138%3Ahymn%3D27

Well, the answers require a trip to the Rijksmuseum in Amsterdam, for a very special Exhibition… https://www.rijksmuseum.nl/en/whats-on/exhibitions/vermeer

Never before have the Rijksmuseum visitors had the opportunity to see so many of Johannes Vermeer’s paintings in one Exhibition titled Vermeer (February 10 – June 4, 2023). The Museum managed to bring most of Vermeer’s paintings together from all over the world, and give visitors a chance to get to know the painter and get closer to his oeuvre. Intrigued by Diana and her Companions, an early mythological painting, rare in theme and unique in its rendering, I decided to learn… more! https://www.rijksmuseum.nl/en/whats-on/exhibitions/vermeer

According to the experts of Mauritshuis, the famous Art Gallery of The Hague where the painting is housed, goddess Diana is depicted taking a rest with her nymphs. She is the goddess of hunting and of the night, which explains the hound at her feet and the moon on her forehead. The dreamy atmosphere of the scene is typical of Vermeer’s work. The mythological theme of the painting is not so typical. Vermeer however, is best known for his small intimate genre paintings, early on in his career, painted a few larger biblical and mythological scenes, including the painting of Diana and her Companions. https://www.mauritshuis.nl/en/our-did collection/artworks/406-diana-and-her-nymphs/

Explore http://www.essentialvermeer.com/index.html for the most interesting information, and please… Check HERE! for a PowerPoint on Vermeer’s thirty-five surviving Paintings as presented in the Rijksmuseum https://www.rijksmuseum.nl/en/stories/themes/vermeer/story/all-paintings-by-vermeer

New Kingdom Rock Cut Tombs

by ArtEgyptEgyptian ArchitectureEgyptian ArtLesson PlansPowerpoints
Tomb of Ramose, 18th Dynasty, c. 1350 BC, Vizier of  Amenhotep III, Western Thebes, Egypt – Two male guests… the man in front is “the overseer of the hunters of [Amun], Keshy”. The one in the back is unknown. In front of them is Werel, the “Mistress of Goddess Mut.”https://www.flickr.com/photos/manna4u/11288833674

Digital Egypt for Universities site experts ( https://www.ucl.ac.uk/museums-static/digitalegypt/thebes/tombs/index.html ) discussing their Unit on Thebes, some tombs of the New Kingdom (about 1550-1069 BC) write… The typical (elite) Theban tomb type is the rock-cut tomb. Several hundred were cut into the rock on the west of the city. These tombs consist of two main parts. There is the underground burial chamber, most often undecorated and there is the decorated chapel accessible for the living. The chapel was the place for the cult of the dead. The quality of stone is not very good at Thebes, and therefore most of the tomb chapels were plastered and painted rather than decorated with reliefs. My new Lesson Plan on the same subject is titled… The New  Kingdom Rock Cut Tombs and, may I add, their amazing interior decoration.

Two PowerPoints, one dedicated to the Tomb of Nebamun, and the other to six incredible New Kingdom Tombs of importance and beauty, will assist us in further understanding the ‘secrets’ of Egyptian art. To access the two PowerPoints, please… Click HERE! and HERE!

I use the 4-Steps to Success ‘grid’ to organize my presentation… and focus on what the Enduring Understanding of this presentation will be… New Kingdom Tomb Paintings/Reliefs tell the history of people & events, recording not only facts but the spirit and emotions of the time of ancient Egypt.

The New Kingdom was Egypt’s Golden Age, as years of stability within its boundaries, on one hand, diplomacy, trade, and war, on the other, brought immense prosperity and political power. Money poured into Egypt from its foreign lands, particularly Nubia, home to the richest gold mines in the ancient world. Much of this money was used by the pharaohs and their administrators to give thanks to the gods who had helped them in their success. The New Kingdom became one of the most creative periods in Egyptian history and the wall paintings or relief carvings in the Theban Rock Cut Tombs, are an example of their extraordinary artistic achievements. https://www.pbs.org/empires/egypt/newkingdom/architecture.html

During the New Kingdom period (ca. 1539 – 1075 BC) the Pharaohs established the new funerary trend of building Rock Cut Tombs in the area across Thebes, the capital of Egypt, on the Western bank, of the river Nile. Building their tombs in what became known as the Theban Valley of the Kings, the Pharaohs were followed, as the tradition was, by their queens, members of their families, and members of their administration. These Tombs were exquisitely decorated with fine paintings or carved reliefs of religious texts that would help the dead successfully navigate their way to the afterlife. Not only so… Tombs of New Kingdom administrators contained idealized images of everyday life that represented the life of the tomb’s occupant and his or her hopes for paradise in the afterlife. https://www.pbs.org/empires/egypt/newkingdom/architecture.html

For the New Kingdom Timeline, please… Check HERE!

Enjoy a National Geographic Documentary titled Egypt Eternal: The Quest for Lost Tombs (2002)… https://www.youtube.com/watch?v=IgWbZvMSCGM  

Another Video about Egyptian Art History from Goodbye-Art Academy… https://www.youtube.com/watch?v=ibp_i7bekQU

A Khan Academy Video on the Ancient Thebes with its Necropolis… https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/ancient-egypt-ap/v/ancient-thebes-unescotbs

New Kingdom Temple Architecture

by ArtEgyptEgyptian ArchitectureEgyptian ArtLesson PlansPowerpointsSocial Studies
The Cult Temple of Amun-Ra, Hypostyle Hall, was begun by Ramesses I (19th Dynasty, 1292-1290), continued by his son, Seti I (19th Dynasty, 1306-1290 BC), and completed by Ramesses II (19th Dynasty, 1303-1213), Karnak, Egypt
https://www.worldhistory.org/image/12797/great-hypostyle-hall-columns-karnak/

Late in the Second Intermediate Period (ca. 1650–1550 B.C.), the Theban rulers (Dynasty 17) began to drive the Hyksos kings (Dynasty 15) from the Delta. This was finally accomplished by Ahmose I, who reunited Egypt, ushering in the New Kingdom—the third great era of Egyptian culture. Ahmose’s successors in Dynasty 18 conducted military campaigns that extended Egypt’s influence in the Near East and established Egyptian control of Nubia to the fourth cataract. As a result, the New Kingdom pharaohs commanded unimaginable wealth, much of which they lavished on their gods, especially Amun-Re of Thebes, whose cult temple at Karnak was augmented by succeeding generations of rulers and filled with votive statues commissioned by kings and courtiers alike. New Kingdom Temple Architecture is the next step in exploring the Art of Pharaonic Egypt!

Thebes became the cultural and religious capital of New Kingdom Egypt. The Pharaohs lavished their gods with luxurious Cult Temples and built their Mortuary Temples on Thebe’s west bank, where they were also buried in huge rock-cut tombs decorated with finely executed paintings or painted reliefs illustrating their everyday life, and religious texts concerned with the afterlife. For the talented artists working diligently for the Pharaohs, a town was established in western Thebes, where archaeologists discovered a wealth of information about life in an ancient Egyptian community of artisans and craftsmen. https://www.metmuseum.org/toah/hd/nking/hd_nking.htm

Known especially for monumental architecture, Cult and Mortuary Temples dedicated to Gods and Pharaohs, the New Kingdom, a period of nearly 500 years of political stability and economic prosperity, produced an abundance of architectural masterpieces we must explore… starting with our 4-Steps to Success… and an Essential Question… What did ancient Egyptian Temples represent?

Egyptian Temples were holy centers where priests served the gods (Cult Temples) and the memory of the diseased Pharaoh (Mortuary Temple). Cult Temples were the earthly houses of one or more deities. Egyptians believed that the worshiped God or Goddess lived within the statues kept in the Temple’s Sanctuary. Temples were also the centers where cultural knowledge was stored and curated in libraries and scriptoria.

Each Temple represents the universe as the ancient Egyptians understood it. To exemplify their point of view, Temple walls and Columns were divided into three zones. The lower zone, the closest to the ground, is decorated with “physical” images of the Egyptian land like plant motifs. The middle zone represents the world of the living. It is dedicated to the Pharaoh and presents scenes like the king conducting rituals and worshipping the gods. Finally, the third zone, the ceiling of the Temple, is covered in stars and constellations representing the world of their deities.

It is important to remember that ancient Egyptian Temples shared structural similarities, but they were also singular and distinctive. The beauty of their Architecture is that they evolved over Egyptian history like living organisms. They started as small edifices built of organic materials like river reeds, into large stone monuments. In places like Karnak, Luxor, and even Abu Simbel, they dazzle the viewer with their grandeur and splendor.

During a class period dedicated to New Kingdom Temple Architecture, we will discuss the specific characteristics each Cult Temple shared… the Pylon, the open Court, the Hypostyle Hall, and the Sanctuary. Two very unique Cult Temples, that of Amun-Ra at Karnak, and the Ramesside Temple of Abu Simbel will be presented and further investigated.

Mortuary Temples, equally important to Cult Temples, were places of worship dedicated to the Pharaoh and his cult under whom they were constructed. During the New Kingdom period (1539–1075 BC) the kings were buried in rock-cut tombs, in the Valley of the Kings in the area of western Thebes. Their Mortuary Temples, constructed in the vicinity of the royal tombs, served as depositories for gifts and food to the dead monarch. They were economically independent through endowments of estates and lands to ensure religious services and offerings in perpetuity and fully staffed with priests, to perform the necessary rituals. The finest example of a New Kingdom Mortuary Temple was commissioned by Hatshepsut (18th Dynasty, r. 1507-1458 BC) at Deir el-Bahri.

For the PowerPoint ‘The Art of the 2nd Intermediate Period’, please… Check HERE!

For the PowerPoint ‘New Kingdom Temple Architecture’, please… Check HERE!

For the New Kingdom Timeline, please… Check HERE!

Enjoy a Travel Video by Rick Steve titled Luxor, Egypt: The Karnak Temple Complex… https://www.youtube.com/watch?v=CqO4PE4uZhc  

Another Video about New Kingdom Architecture and the Karnak Cult Temple Complex by Manuel Bravo… https://www.youtube.com/watch?v=9_6inr3KLx0

A Khan Academy Video on the Mortuary Temple of Hatshepsut and Large Kneeling Statue, New Kingdom, Egypt, very informative and educational… https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/ancient-egypt-ap/v/mortuary-temple-of-hatshepsut-and-large-kneeling-statue-new-kingdom-egypt

The dynamic Middle Kingdom

by Ancient EgyptArtEducationLesson PlansPowerpointsSocial Studies
Model of a Boat from the Tomb of Meketre  12th Dynasty, ca. 1981–1975 BC, Wood, paint, plaster, linen twine, linen fabric, Length: 132.5 cm, the MET, NY, USA
https://en.wikipedia.org/wiki/Wooden_tomb_model#/media/File:Model_Paddling_Boat_MET_20.3.5_EGDP011930.jpg

The dynamic reunification of the Two Lands in ancient Egypt, in the period we call the Middle Kingdom, created new requirements for the Egyptian Pharaohs. No longer an aloof divine representative of the gods on earth, the king in the Middle Kingdom was expected to be more available to the people. This period also saw increased interactions with the outside world, the re-establishment of connections with Syria to the north and the establishment of forts reaching south deep into Nubia. Rich in literature (often of great knowledge and wit), this era also produced exquisite works of art. The cult of Osiris grew as did the number of Egyptians who could equip themselves for the afterlife, what we might recognize as a “middle class.” The dynamic Middle Kingdom represents an amazing period in Egyptian history worth exploring… https://smarthistory.org/middle-kingdom-and-second-intermediate-period-introduction/

During the Middle Kingdom, a period stretching from about 2040 to 1650 BC, Egyptian cultural principles were reimagined. We will start with my Steps to Success Lesson Plan Outline… our Goal is to “travel” through the Middle Kingdom timeline and discuss aspects of cultural and social developments, changes in religious perspectives, and new artistic viewpoints. Let’s not forget that the Middle Kingdom is considered by some scholars the ‘classical’ period of the ancient Egyptian era.

Credited with reuniting Egypt, Mentuhotep II of the 11th Dynasty, brought back peace and prosperity to Egypt and became the first Pharaoh of the Middle Kingdom. During the extended period of his reign, a unique burial complex in Deir el-Bahri was constructed, and a fresh style in Pharaonic representation took shape. By the end of the 12th Dynasty art production reached new heights in architecture, sculpture, painting, relief decoration, and jewelry.

Statues of Senusret or Sesostris or Senworset III, 12th Dynasty, c. 1878-1839 BC, Granodiorite, Height: 122 cents, British Museum, London, UK
https://en.wikipedia.org/wiki/Senusret_III  

If the art of the Old Kingdom appears majestic and confident, let’s not forget the solid stone pyramids, and the youthful, serene, self-assured statues of the pharaohs, the new Middle Kingdom era captivates us with its sense of maturity, and realism. The key development in art is the invention of the Portrait. The transition towards a humanizing tendency in portraiture is captivating. The Portrait of Senwosret III is a good example, as the ruler seems to have consciously chosen to represent his humanity rather than an idealized image of eternal kingship.

Fascinating is the Middle Kingdom’s penchant for symbolic jewelry. The cloisonné pectoral of Princess Sithathoryunet, for example, is astounding. Inlaid with 372 carefully cut pieces of semiprecious stones the pectoral presents us with high-quality craftsmanship and a new  Egyptian love for rendering detail… even on the back part of a jewelry piece, the part visible solely to the Egyptian who wore it!

Finally, the increase in the number of private monuments, like the rock-cut tombs in Beni Hasan, the lavish fresco decoration on the walls of these monuments, and the vast production of simple, yet enchanting, funerary gifts like the wood models of workshops, food-production facilities, and domestic structures, is compelling. It shows that a group of talented workmen served the provincial ‘aristocracy’ with fine quality work in every medium, suggesting that during the Middle Kingdom afterlife was ‘democratized’ to allow nonroyal individuals access to a different type of afterlife, and a wider range of ‘available’ symbols to use.

For the PowerPoint ‘The Art of the Middle Kingdom’, please… Check HERE!

For the Middle Kingdom Timeline, please… please Check HERE!

Learn about Pharaoh Mentuhotep II and his achievements through a DW World History Video… https://www.youtube.com/watch?v=KNArI5Y8MOg

Watch a Video about the small MET Model of an Offering Lady  Bearer from the Tomb of Meketre… https://www.youtube.com/watch?v=B4k9JklNrTk

The Art of Ancient Egypt: A Resource for Educators is very informative and easy to download… https://www.metmuseum.org/art/metpublications/The_Art_of_Ancient_Egypt_A_Resource_for_Educators