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Consul Areobindus Dagalaifus Areobindus

June 8, 2023

by admin Art Byzantine Art Byzantine Ivories Byzantium Early Christian Art Powerpoints Social Studies

**Leaf of a Diptych with Consul Areobindus,** 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France (my amateurish attempt at Photography)

Devant une tribune, write the Cluny Museum Experts, paré de ses insignes, Areobindus est entouré d’assesseurs. La main droite levée, il lance les jeux avec la “mappa”, sorte de linge qui servait à signaler le début des jeux du cirque. En dessous sont représentés ces jeux : des gladiateurs combattent des animaux sauvages. On the 10^th of May, 2023, I was in Paris, at the Cluny Museum, paying my respects to Consul Areobindus Dagalaifus Areobindus. It was a moment I will always cherish! https://www.musee-moyenage.fr/collection/oeuvre/diptyque-du-consul-areobindus.html

Let’s answer some questions starting with Who, What, Where, When, Why, and How…

What do we know about Late Roman / Early Byzantine Consular Diptychs? They were a form of ceremonial and commemorative artwork that originated in the late Roman Empire. They were created in the form of hinged wooden panels, often covered in ivory or other valuable materials. Consular diptychs typically consisted of two panels, known as leaves, which were decorated with relief carvings and inscriptions. These diptychs were presented as gifts to friends and supporters, by newly appointed consuls, who were the highest-ranking officials in the Roman Empire. They served as a record and celebration of their consulship. The inscriptions on the diptychs included the consul’s name, the names of the emperor or emperors in office during their consulship, and sometimes additional details such as the consul’s accomplishments or notable events from their term.

What do Consular Diptychs usually feature as their decoration? They often featured intricate and detailed relief carvings depicting various scenes, including mythological figures, military victories, and allegorical representations of virtues. These carvings were highly symbolic and conveyed messages of power, prestige, and legitimacy. Many consular diptychs have been lost or damaged. However, a number of surviving examples provide valuable insights into the art, culture, and political context of the late Roman / Early Byzantine Empire. They are significant historical artifacts that shed light on the individuals who held the highest offices in the Roman / Byzantine state.

**Leaf of a Diptych with Consul Areobindus (detail upper part),** 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

Who was Consul Areobindus? Areobindus Dagalaifus Areobindus was a high-ranking Byzantine official and military leader during the reign of Emperor Anastasius I Dicorus (c. 431 – 518) in the 6th century AD. Areobindus was a scion of an extremely distinguished family of Roman and Alanic-Gothic heritage. He was married to Anicia Juliana, the daughter of Olybrius, briefly the western Roman Emperor in 472, and his wife Placidia, thus, connecting Areobindus to the Theodosian dynasty. Along with his wife, considered to be the most aristocratic and the wealthiest inhabitant of Constantinople, Aerobindus spent a life of military and administrative distinction. In 506 AD, he served as consul of the Byzantine Empire. The consular office, though it had lost its administrative functions by this time, was still an important honorific title. The period of Areobindus’s consulship corresponded with the early period of Byzantine history, which was characterized by frequent wars with Sassanid Persia, the Germanic tribes, and other neighbors, as well as a flowering of Greek and Roman art and culture.

**Leaf of a Diptych with Consul Areobindus (detail – faces),** 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

When was the Consular Diptych of Areobindus created? It was created in 506 AD, in Constantinople, when Areobindus was elected Consul of the Eastern Roman / Byzantine Empire.

How can the composition of Areobindus’s Diptych be described? Areobindus’s Consular Diptych is one of the best preserved and most intricately designed examples of Byzantine Consular Diptychs. Under the inscription C[omite] SAC[ri] STA[buli] ET M[agister] M[ilitum] P[er] OR[ientum] EX C[onsule] C[onsul] OR[dinarius] the artist of the Diptych presents Areobindus, in strict frontality, dressed in consular robes and holding the traditional symbols of the consul’s office, including a mappa circensis (a handkerchief with which the Consul gave the signal for the games to commence) and an elaborate scepter. Flanked by two of his assistants, the Consul is depicted presiding over the circus games sitting on a luxurious chair with curved legs and no back. The quality of the carving and the level of detail in this scene attest to the skill of the artist and the luxury of the object.

**Leaf of a Diptych with Consul Areobindus (detail lower part),** 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

**Leaf of a Diptych with Consul Areobindus (detail lower part with spectators),** 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

The lower part of the described Diptych depicts scenes of circus games, typically referred to as the venationes. These were staged hunts or fights involving wild animals, a popular form of public entertainment, at the time, alongside chariot races and gladiatorial combats. The venationes depicted in the Areobindus Diptych, showcase a range of exotic and dangerous animals, symbolizing both the consul’s power and the grand spectacle of the games themselves. It is a surprising, delightful scene. The artist exhibits originality, energy, and an unexpected variety of poses and gestures.

Why is the Consular Diptych of Areobindus significant? Simply put, it serves as an exceptional example of Early Byzantine artistry and craftsmanship. Its intricate relief carving depicts an important historical figure of the time, providing valuable insights into the iconography and symbolism of the era. It also serves as a tangible connection to the tradition of Consular Diptychs, which were presented as gifts to high-ranking officials or distributed during official ceremonies. It exemplifies the use of art and objects as a means of political communication and the display of status and authority during the Early Byzantine period.

**Leaf of a Diptych with Consul Areobindus,** 506 AD, elephant ivory bas-relief, 39x13cm, Musée de Cluny, Paris, France

Where is the Consular Diptych of Areobindus currently located? The Consular Diptych of Areobindus is an invaluable resource for historians studying the Byzantine Empire and the broader late antique period. It is an artifact that connects us directly with the people, events, and cultures of the past. It is part of the Louvre Museum Collection, but it is exhibited in the Cluny Museum, also known as the Musée National du Moyen Age, in Paris.

How can the Cluny Museum best be described? The Musée de Cluny, also known as the Musée National du Moyen Age, or the National Museum of the Middle Ages, is located in Paris, France. It is housed in two significant historic buildings: the 15th-century Hôtel de Cluny and the Gallo-Roman thermal baths dating back to the 3rd century. The museum is renowned for its extensive collection of medieval artifacts, including tapestries, sculptures, manuscripts, and metalwork. Its most famous work is arguably the “The Lady and the Unicorn” series of tapestries, a masterpiece of the late Middle Ages.

The architecture of the museum itself is notable. The Hôtel de Cluny is a fine example of late medieval secular architecture, with its Gothic-style features and well-preserved rooms. The adjacent thermal baths showcase the grandeur of Roman architecture and provide an interesting contrast. The museum is also known for its medieval-inspired gardens. These gardens are designed based on medieval texts and archaeological research and serve as a quiet oasis in the bustling city of Paris. As a whole, the museum provides a unique experience for visitors to immerse themselves in the rich history and culture of the Middle Ages, serving as a testament to the creativity, skill, and artistry of the period.

For a PowerPoint inspired by the Consul Areobindus Dagalaifus Areobindus BLOG POST, please… Check, HERE!

Photo Credits

https://www.musee-moyenage.fr/collection/oeuvre/diptyque-du-consul-areobindus.html

https://el.wikipedia.org/wiki/%CE%91%CF%81%CF%87%CE%B5%CE%AF%CE%BF:Areobindus_presides_over_the_games_MNMA_Cluny_13135_n02.jpg

https://fr.m.wikipedia.org/wiki/Fichier:Areobindus_presides_over_the_games_MNMA_Cluny_13135_n03.jpg

https://www.facebook.com/photo?fbid=600976638725848&set=pcb.600976745392504

https://www.facebook.com/photo/?fbid=3193819524018904&set=comment-f%C3%AAter-son-%C3%A9lection-en-remerciant-ses-plus-fid%C3%A8les-partisans-la-tradition

Léon Bakst

May 25, 2023

by admin 20th century Art Art Art Deco Education Lesson Plans Powerpoints Student Activities Worksheets

**Léon Bakst,** Russian Artist, 1866-1924
**Costume Design for a Woman from the Village, for the Ballet ‘Daphnis and Chloé’, performed at the Théâtre du Châtelet in Paris,** 1912, Watercolor and graphite, 26 × 21.6 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/698631

It is goodbye to scenery designed by a painter blindly subjected to one part of the work, to costumes made by any old dressmaker who strikes a false and foreign note in the production; it is goodbye to the kind of acting, movements, false notes and that terrible, purely literary wealth of details which make modern theatrical production a collection of tiny impressions, without that unique simplicity which emanates from a true work of art… wrote Léon Bakst… and my students loved him!https://www.vam.ac.uk/articles/l%C3%A9on-bakst-design-for-the-ballet

Léon Bakst (Lev Samoylovich Rosenberg, 1866-1924) was a Russian artist and designer, best known for his work in the fields of theatrical and costume design. He was born in Grodno, now in modern-day Belarus, and studied at the St. Petersburg Academy of Arts. Bakst’s most significant contributions were to the Diaghilev Ballets Russes, a Russian ballet company that performed throughout Europe in the early 20th century. Bakst designed sets and costumes for many of the company’s most famous productions, including “The Firebird,” “Petrouchka,” and “The Rite of Spring.” In addition to his work with the Ballets Russes, Bakst also designed costumes for the Moscow Art Theatre and for various operas and plays. He was also an accomplished painter, creating works in a variety of styles including Art Nouveau, Symbolism, Art Deco, and Orientalism.

I am intrigued by the artist’s research into the art of ancient Greece which began in St Petersburg when preparing designs for productions of the Greek tragedies Hippolytus, Antigone, and Oedipus at Colonus in 1902 and 1904. It was apparently further enhanced in 1907 when Léon Bakst visited Greece with Valentin Serov, a journey which ‘had the most profound effect on the artist as it radically affected his palette and inspired his decorative imagination΄. In the Archaeological Museum in Olympia, looking at the statues of female figures, Bakst wrote… I want terribly to run my hand over the marble, to find out what Niobe’s(?) shoulders are like… https://hyperallergic.com/501125/hymn-to-apollo-ancient-greek-art-ballet-russes/ and https://poulwebb.blogspot.com/2022/01/leon-bakst-part-1.html

**Léon Bakst,** Russian Artist, 1866-1924
**Costume Design for Tamara Karsavina as Chloé, for Daphnis et Chloé,** ca. 1912, Graphite and tempera and/or watercolor on paper, 28.2×44.7 cm, Wadsworth Atheneum Museum of Art, Hartford, CT, USA https://isaw.nyu.edu/exhibitions/ballets-russes/objects/72

**Léon Bakst,** Russian Artist, 1866-1924
**Cleopatra, Costume for a Syrian woman**, 1909, cotton, silk, metal studs, paint, length 110.0 cm, National Gallery of Australia, Canberra
**Cleopatra, Costume for a Greek**, 1909, silk, lamé, metallic braid, center back length 96.0 cm, National Gallery of Australia, Canberra
https://searchthecollection.nga.gov.au/landing#/results?keyword=L%C3%A9on%20Bakst&includeParts

The artist’s talent was boundless, wrote the State Tretyakov Gallery experts, reaching the very top in every field of art he touched upon – be it stage design, costume designs, graphics, or painting. There was much to explore… but my 4-Steps to Success Lesson Plan kept me… on track! https://artsandculture.google.com/story/the-collector-of-success-leon-bakst/VQUBSXEITyGILA

My students were enthused by Bakst’s style characterized by bold colors, sinuous lines, intricate patterns, and the use of exotic motifs. They were fascinated by his ability to draw inspiration from Russian folk art, Middle Eastern and East Asian cultures, and Classical Antiquity. His projects, they understood, were revolutionary at the time, and helped to establish a new standard for theatrical design. They were impressed by how contemporary his oeuvre appears and how his work continues to inspire designers and artists today.

A RWAP Student Activity (RWAP stands for: Research – Writing – Art – Project) in a PowerPoint format with eighteen examples of Designs and actual Costumes by Léon Bakst … HERE!

For a PowerPoint, please… Check https://www.teachercurator.com/wp-content/uploads/2023/05/LBakst-Art-PP.pdf

**Léon Bakst,** Russian Artist, 1866-1924
Costume design for Theseus, (Oedipus at Colonus performance at St. Petersburg, Alexandrinsky Theater), 1904, Watercolor and Pencil on Paper, 28 by 21 cm, Private Collection
https://macdougallauction.com/en/catalogue/view?id=5652

A Unique Tapestry in Bayeux

May 16, 2023

by admin 11th century Art Art Medieval Art Powerpoints Social Studies

**Bayeux Tapestry,** c. 1070, Εmbroidered Wool on Linen, about 68.3 metres long and about 70cm wide , Bayeux Tapestry Museum, France
https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/

Auspiciously a comet hangs / in the tabby linen / above King Harold / the way the Hale-Bopp / once in 1997 / blipped above the funeral parlor / the night before we buried / my cousin / You’ll never live to see this again / the aunties sighed the air thick / with peepers / while thirty-nine of / Heaven’s Gate Away Team / attempted to reach / the spaceship trailing / the comet’s wake / by swallowing / phenobarbital / mixed with applesauce— / that star-smear / across the sky no doubt / scrawling some sentence / from some holy book / no doubt signaling / another turn toward war / & further down / the tapestry ghost ships / cross a corrugated sea / horses midgallop / trample the woven acres / between king & king— / because all art once / was about conquest / history will remember / those horses / even as time robs / the yarn of its dye / even as I place / my hand to the glass… writes Jacques J. Rancourt, and I question…Is a Unique Tapestry in Bayeux true to Rancourt’s phrase… all art once / was about conquest…https://www.cincinnatireview.com/samples/a-detail-from-the-bayeux-tapestry-11th-c-by-jacques-j-rancourt/

Let’s answer some questions starting with Who, Where, When, What and Why…

What is the Bayeux Tapestry? The Bayeux Tapestry is in fact an embroidered linen cloth that is nearly 70 meters long and about 50 centimeters tall. It is embroidered with woolen yarns in various colors and depicts the events leading up to the Norman Conquest of England in 1066, as well as the Battle of Hastings itself. The Bayeux Tapestry is remarkable for its size, the detail of its embroidery, and its historical significance, and it has been studied and admired by scholars, historians, and art enthusiasts for centuries.

When was the Bayeux Tapestry created? The exact date of the creation of the Bayeux Tapestry is not known, but it is believed to have been created in the 1070s or 1080s, within a few years of the Norman Conquest of England in 1066.

Who created the Bayeux Tapestry? The creator of the Bayeux Tapestry is not definitively known, and the identity of the artist or artists who created it remains a mystery. However, it is believed that the tapestry was commissioned by Bishop Odo, the half-brother of William the Conqueror, and was probably created by skilled embroiderers and weavers in England or in the Normandy region of France, where Odo held significant power. The style of the embroidery and the subjects depicted in the tapestry suggest that it was likely created by artists who were familiar with the Anglo-Saxon and Norman artistic traditions of the time.

**Bayeux Tapestry (detail with Odo, Bishop of Bayeux),** c. 1070, Εmbroidered Wool on Linen, about 68.3 metres long and about 70cm wide , Bayeux Tapestry Museum, France
https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/discover-the-bayeux-tapestry/the-characters/

Why was the Bayeux Tapestry created? The exact reason for the creation of the Bayeux Tapestry is not known, but it is believed to have been created as a commemoration of the Norman Conquest of England in 1066. The tapestry tells the story of the events leading up to the Battle of Hastings and the Norman victory over the Anglo-Saxon army led by King Harold Godwinson. The tapestry may have also been created as a form of propaganda, to promote the legitimacy of William’s claim to the English throne and to portray the Anglo-Saxons in a negative light. Additionally, the tapestry may have served as a historical record of the events depicted, providing a visual account of the Norman Conquest for future generations.

Who are the main characters depicted in the Bayeux Tapestry? The Bayeux Tapestry depicts several main characters who played important roles in the events leading up to the Norman Conquest and the Battle of Hastings. Some of the main characters depicted in the tapestry include 1. Harold Godwinson, the Anglo-Saxon king, who was defeated by William the Conqueror at the Battle of Hastings. 2. William the Conqueror, the Norman leader who invaded England and defeated Harold Godwinson. 2. Edward the Confessor, the Anglo-Saxon king who died in 1066, triggering the succession crisis that led to the Norman Conquest. 3. Duke William’s Norman army, including his knights and soldiers. Anglo-Saxon soldiers, including Harold’s army. 4. Odo, Bishop of Bayeux, who is believed to have commissioned the tapestry and is depicted leading troops into battle. Other important figures, such as King Harold’s brothers, Earl Tostig and Earl Gyrth, and William’s half-brother, Bishop Odo. The tapestry also depicts various animals, scenes of battle and everyday life, and several Latin inscriptions that provide additional information about the events depicted.

**Bayeux Tapestry (detail with William the Conqueror),** c. 1070, Εmbroidered Wool on Linen, about 68.3 metres long and about 70cm wide , Bayeux Tapestry Museum, France https://www.bayeuxmuseum.com/en/the-bayeux-tapestry/discover-the-bayeux-tapestry/

Where did the events depicted in the Bayeux Tapestry take place? The events depicted in the Bayeux Tapestry primarily took place in England and Normandy, which are located in present-day France and England. The tapestry depicts the events leading up to the Norman Conquest of England in 1066, including the death of King Edward the Confessor, the coronation of Harold Godwinson as king, and the invasion of England by William the Conqueror and his Norman army. The tapestry also depicts the Battle of Hastings, which took place on October 14, 1066, in a location that is now known as Battle, East Sussex, England. Some scenes in the tapestry also show everyday life in England and Normandy, including scenes of hunting, feasting, and other activities.

Which events from the Norman Conquest are depicted in the Bayeux Tapestry? The Bayeux Tapestry depicts the events leading up to the Norman Conquest of England in 1066, as well as the Battle of Hastings itself. Some of the specific events and scenes depicted in the tapestry include: 1. The death of Edward the Confessor, the king of England, and the subsequent succession crisis that led to the Norman Conquest. 2. The journey of Harold Godwinson, the Anglo-Saxon king of England, to Normandy to meet with Duke William of Normandy and the subsequent oath of allegiance that Harold took to William. 3. The Norman invasion of England, including the landing of the Norman fleet at Pevensey and the building of a castle at Hastings. 4. The Battle of Hastings, including the preparations of the Norman and Anglo-Saxon armies, the events leading up to the battle, and the battle itself, including the death of Harold and the Norman victory. 5. The coronation of William the Conqueror as the king of England and his subsequent reign, including the building of castles and the suppression of rebellions. Overall, the Bayeux Tapestry provides a detailed visual record of the Norman Conquest, including the key players, events, and battles of the period, and has served as an important historical and cultural artifact for over 900 years.

**Bayeux Tapestry, Harold’s, the Anglo-Saxon Earl of Wessex and King of England, Death at the Battle of Hastings,** c. 1070, Εmbroidered Wool on Linen, about 68.3 meters long and about 70cm wide, Bayeux Tapestry Museum, France https://commons.wikimedia.org/wiki/File:Bayeux_Tapestry_scene57_Harold_death.jpg

Why is the Bayeux Tapestry considered an important work of art? The Bayeux Tapestry is considered an important art historical artifact for several reasons. Firstly, the tapestry is an outstanding example of the art of embroidery and was created using a combination of techniques, including stem stitch, outline stitch, laid work, and couching. The embroidery is executed in a range of colors, including various shades of red, blue, green, yellow, and brown, and uses different types of thread, including silk, wool, and linen. Secondly, the Bayeux Tapestry is a unique example of the fusion of Anglo-Saxon and Norman artistic traditions, which were combined to create a distinctive style. The tapestry features both Anglo-Saxon and Norman figures and incorporates elements of Anglo-Saxon and Norman art, such as the interlacing patterns and spirals of Anglo-Saxon art, and the use of naturalistic forms in Norman art. Thirdly, the Tapestry is an important example of narrative art, as it tells a coherent story through a series of scenes and images that captures the viewer’s imagination. Finally, this is an important cultural artifact that has had a significant influence on the development of art and design over the centuries

Where did the Bayeux Tapestry get its name from? / Who owns the Bayeux Tapestry today? The Bayeux Tapestry is named after the town of Bayeux in Normandy, France, where it has been kept for most of its history. The tapestry is believed to have been commissioned by Bishop Odo of Bayeux, who was the half-brother of William the Conqueror and a powerful figure in Normandy. It is thought that the tapestry was probably displayed in Bayeux Cathedral in the 11th century. The Bayeux Tapestry is currently owned by the Centre Guillaume le Conquérant in Bayeux, France, where it is on display in a museum called the Musée de la Tapisserie de Bayeux. This is considered a treasured cultural and historical artifact. The tapestry is protected by French law and is considered a national treasure of France. The tapestry is sometimes also referred to as the Bayeux Embroidery, as it is embroidered rather than woven like a traditional tapestry.

For a PowerPoint, on a unique Tapestry in Bayeux, please… Check HERE!

The Bersha Procession

May 2, 2023

by admin Art Education Egypt Egyptian Art Powerpoints Student Activities Worksheets

**The Bersha Procession,** Middle Kingdom, late 11th Dynasty–early 12th Dynasty, 122010–1961 BC, Egypt, Deir el-Bersha, Tomb 10, shaft A (Djehutynakht), Painted Wood, 66.4 x 8.6 x 42.5 cm, MFA, Boston, MA, USA
https://gr.pinterest.com/pin/670473463254087082/?nic_v3=1a7FXhvpJ

In a 1915 excavation, archaeologists from the Harvard University-Boston Museum of Fine Arts Expedition discovered, explain the MFA experts, the entrance to a tomb at the picturesque site of Deir el-Bersha in Egypt. Inside, the MFA team found, in jumbled array, the largest burial assemblage of the Middle Kingdom (2040-1640 BC) ever discovered. The tomb, designated Tomb 10A, was filled with the funerary equipment of a local governor by the name of Djehutynakht and his wife, also named Djehutynakht. Robbers had stolen the finest jewels but left everything else, including the severed (but nicely wrapped and painted) head of one of the Djehutynakhts. The tomb contained four beautifully painted coffins, one of which, the famous “Bersha coffin” (the outer coffin of the governor), is arguably the finest painted coffin Egypt produced and a masterpiece of panel painting. The tomb also included Djehutynakht’s walking sticks, pottery, canopic jar, and miniature wooden models that were made for the burial but reflect life on Djehutynakht’s estate, including some 58 model boats and nearly three dozen models of daily life such as individual shops for carpenters, weavers, brick-makers, bakers, and brewers. Of these, the best known is the exquisitely carved Bersha procession of a male priest leading female offering bearers. https://www.mfa.org/exhibitions/secrets-tomb-10a

During the Middle Kingdom, and for reasons we do not know, a new trend occurred in Egyptian burial customs. Miniature models made of wood, a less costly material, were manufactured in large numbers and placed in the burial chamber to furnish provisions for the deceased in the afterlife. In symbolically providing for the tomb owner’s needs, the models functioned in much the same way as painted scenes of these activities did on the walls of tomb chapels. https://collections.mfa.org/objects/143887

A variety of boats, food products, craftsmen and workshops, soldiers, servants, house models, and agricultural activities, are among the most popular representations. They are three-dimensional, and small in size, made out of wood, and colorfully painted. The fact is that the artistic quality of these models varies. However, the Middle Kingdom funerary models are precious as they convey a liveliness and energy that give us a sense of the bustling activities of Egyptian daily life. They also demonstrate innovative poses and subjects that would never have been attempted in the more formal sculptures that represented the tomb owner and his family. https://collections.mfa.org/objects/143702/model-of-a-granary;jsessionid=2E377953D2424D2AFEA2C5AB2332B8C7?ctx=bc58e347-f685-466f-8431-dabc79fda065&idx=32

**The Deir el-Bersha region** https://cool.culturalheritage.org/jaic/articles/jaic42-02-003.html and https://www.arts.kuleuven.be/dayr-al-barsha/project-sites

The Tomb of Djehutynakht put on view the largest collection of wooden models ever discovered in Egypt. The archaeologists, excavating the site in May 1915, discovered the ransacked Tomb of a local governor, stripped of all precious artifacts except humble items of clay, wood, and paint. They discovered 58 model boats and nearly three dozen models of daily life such as individual shops for carpenters, weavers, brick-makers, bakers, and brewers. Of these, the best known is the exquisitely carved Bersha Procession of a male priest leading female offering bearers. https://www.mfa.org/exhibitions/secrets-tomb-10a

**The Bersha Procession,** 2010–1961 BC, Egyptian Middle Kingdom, late Dynasty 11 – early Dynasty, Findspot: Egypt, Deir el-Bersha, Tomb 10, shaft A (Djehutynakht), Painted Wood, 66.4 x 8.6 x 42.5 cm, MFA, Boston, USA
https://gr.pinterest.com/pin/405886985159696252/ and https://www.reddit.com/r/AgeofBronze/comments/qhkhq8/procession_of_offering_bearers_egypt_deir/

The MFA experts believe that the Bersha Procession stands out in every aspect. The skill and delicacy with which it was carved, and painted, they state, rank it among the finest wooden models ever found in Egypt. https://collections.mfa.org/objects/143592/model-of-a-procession-of-offering-bearers-the-bersha-proce?ctx=913074da-57e1-4b97-86d5-d4064c9e2c0e&idx=26

The composition is simple, yet elegant, finely carved and subtly painted. Four figures, a man and three women ‘march’ towards the deceased Djehutynakht bringing offerings to sustain his Ka in the afterlife. They bring him food, drink, items of personal adornment, and the incense used to attract and appease divinities and the blessed dead. https://collections.mfa.org/objects/143592/model-of-a-procession-of-offering-bearers-the-bersha-proce?ctx=913074da-57e1-4b97-86d5-d4064c9e2c0e&idx=26

Simply put, I am completely awestruck by the high quality of craftsmanship and anecdotal details of the Bersha Procession model. So much so, that I dream of visiting the MFA once more!

For a PowerPoint on the contents of the Djehutynakht’s Tomb (Tomb 10A), please… Check HERE!

For a Student Activity inspired by the Bersha Procession, please… Check HERE!

The Boston Museum of Fine Arts received the contents of Djehutynakht’s tomb (Tomb 10A) as a gift from the Egyptian government for their assistance in the 1915 excavation. Since 1920 the Bersha finds are in Boston. https://www.mfa.org/exhibitions/secrets-tomb-10a

The Veil of Saint Veronica

April 14, 2023

by admin 16th century Art Art Basil and Elise Goulandris Foundation Athens High Renaissance Powerpoints Renaissance Renaissance 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.

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

April 9, 2023

by admin 16th century Art Art Italian Renaissance Art Powerpoints Renaissance

**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

April 4, 2023

by admin 15th century Italian Renaissance Art Art Powerpoints Renaissance

**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 5^th 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 29^th 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

March 13, 2023

by admin Art Egypt Egyptian Art Lesson Plans Powerpoints

**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

February 28, 2023

by admin 17th century Art Art Baroque Powerpoints

**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

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

February 25, 2023

by admin Art Egypt Egyptian Art Lesson Plans Powerpoints

**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