- Tapa blanda: 152 páginas
- Editor: British Museum Press; Edición: 01 (31 de marzo de 2008)
- Idioma: Inglés
- ISBN-10: 0714119792
- ISBN-13: 978-0714119793
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº884.232 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
The Painted Tomb-Chapel of Nebamun: Masterpieces of Ancient Egyptian Art in the British Museum (Inglés) Tapa blanda – 31 mar 2008
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Descripción del producto
[an] excellent, accessible book...--Tom Hardwick"The Art Newspaper" (01/01/0001)"
This book cannot be praised too highly: it tells the reader everything he or she would ever wish to know about Nebamuns paintings and illustrates them in splendid and comprehensive style.'--A. Dodson "KMT: A Modern Journal of Egyptology, Vol. 19, No. 2, Summer 2008 "
[an] excellent, accessible book...--Tom Hardwick "The Art Newspaper, July-August 2008 ""
The book not only illustrates the paintings as never seen before, it puts them into context for their content and style.'--Peter A. Clayton "Minerva, July/August 2008 "
..".[an] excellent, accessible book...--Tom Hardwick "The Art Newspaper, July-August 2008 "
Reseña del editor
The paintings from Nebamun’s tomb chapel are among the greatest and most famous of the British Museum’s treasures. Yet much about them remains mysterious, and this book is concerned with the detective work undertaken to help us to understand and see them properly before they are displayed in a new permanent gallery in 2008. For this the paintings are being conserved and remounted in the Museum’s specialist laboratories, a process that is revealing radical new information about painting techniques in ancient Egypt. This, together with archival work, is helping us to solve the problem of the tomb-chapel’s location at Thebes, last seen in the 1820s when the paintings were removed. Richard Parkinson discusses each painting fully, with reconstructions and translations of the hieroglyphic texts, a discussion of the other known fragments (now in Berlin and Avignon) and a reconstruction of the whole tomb chapel. Every fragment is fully illustrated in colour, doing full justice to an artist who has been described as ‘antiquity’s equivalent of Michelangelo’.
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The reason I comment, however, is to call attention to a uniquely demure and personal smile in ancient art. The dancer facing left, her arms raised before her, peeks under her arm at the painter, her lips parted, her affection open, her expression as vibrant to us as it would have been to her lover.
Not bad for an anonymous young woman who lived 3,460 years ago.