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  • Subjects
  • History & The Arts
  • Free courses
  • Art and life in ancient Egypt
  • Week 2 History of the Nebamun paintings

Course content

  • Week 1
  • Introduction
  • 1 European exploration of Egypt
  • 2 The lens of ‘Orientalism’
    • 2.1 Gustave Flaubert – novelist
    • 2.2 Amelia Edwards – traveller
    • 2.3 Howard Carter – archaeologist
  • 3 West versus East
    • 3.1 The views of G.W.F. Hegel
  • 4 Orientalism and European art
    • 4.1 Inspiring the Victorians
  • 5 The avant-garde and Paul Gauguin
    • 5.1 Paul Gauguin
  • 6 Twentieth-century popular culture
  • 7 Beyond the myths
    • Summary
    • References
  • Acknowledgements
  • Week 2
  • Current section:
    Introduction
  • 1 Painting modern life
  • 2 A modern view of ancient Egypt
    • 2.1 Egyptian painting
  • 3 Contrasting purposes
  • 4 Beginning to decode Egyptian art
  • 5 Decoding the Nebamun paintings
  • 6 Easel painting
  • 7 Wall painting
  • 8 How the paintings were obtained
  • Summary
    • References
  • Acknowledgements
  • Week 3
  • Introduction
  • 1 Funerary offerings
    • 1.1 Exploration
    • 1.2 Reconstruction
    • 1.3 Summary
  • 2 The banquet scene
    • 2.1 Exploration
    • 2.2 Reconstruction
    • 2.3 Summary
  • 3 Produce and offerings
    • 3.1 Exploration
    • 3.2 Reconstructions
    • 3.3 Summary
  • 4 Hunting in the marshes
    • 4.1 Exploration
    • 4.2 Reconstruction
    • 4.3 Summary
  • 5 Garden of the west
    • 5.1 Exploration
    • 5.2 Summary
  • 6 Acquisition of the paintings
    • 6.1 Original locations
  • 7 Selecting the fragments
  • 8 Selection based on subject
    • 8.1 The Bible
    • 8.2 Animals
    • 8.3 Orientalism
    • 8.4 Conclusion
  • Summary
  • References
  • Acknowledgements
  • Week 4
  • Introduction
  • 1 Exploring the evidence
    • 1.1 A man of wealth
  • 2 Belief in an afterlife
  • 3 Daily life
    • 3.1 A hierarchical society
    • 3.2 Death rituals
  • 4 Tomb-chapels
    • 4.1 The west bank of the Nile
  • 5 Tomb layout
  • 6 Tomb decoration
    • 6.1 Tomb graffiti
  • 7 Symbolism
  • Summary
  • References
  • Acknowledgements
  • Week 5
  • Introduction
  • 1 Modern thinking about art
    • 1.1 Exercising artistic skill
    • 1.2 Autonomy
    • 1.3 Artistic authors
  • 2 A paradox and its consequences
    • 2.1 Art or cultural product?
    • 2.2 Towards acceptance
    • 2.3 The nature of artistic practice
    • 2.4 Returning to Nebamun
  • 3 Preparing the tomb
  • 4 Designing the decoration
    • 4.1 From plan to wall
    • 4.2 The use of reliefs
  • 5 Applying the paint
  • 6 The skills of the painters
  • 7 Conventions of representation
    • 7.1 The skill of ‘foreshortening’
    • 7.2 Dissimilarity within conventions
  • 8 Conventions of Egyptian art
    • 8.1 Beyond the stereotype
  • 9 Principles of Egyptian art
    • 9.1 Schäfer’s principles
    • 9.2 The principles in practice
    • 9.3 The lack of shadows
    • 9.4 Ramifications
    • 9.5 Hunting in the marshes
    • 9.6 Produce of the Estates
  • 10 Symbolic dimension
    • 10.1 Egyptian ‘genres’
  • 11 Change and innovation
  • 12 Nebamun: the lesson of looking
  • Summary
    • References
  • Acknowledgements

About this free course

About this free course

30 hours study

Level 1: Introductory

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  • BA/BSc (Honours) Open degree
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  • BA (Honours) Classical Studies
    BA (Honours) Classical Studies
  • Exploring the classical world
    Exploring the classical world

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Art and life in ancient Egypt
Art and life in ancient Egypt

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  • Week1
  • Week2
  • Week3
  • Week4
  • Week5

Week 2 History of the Nebamun paintings

Introduction

This week you will explore the answers to a number of questions:

  • What are the key differences between painting in modern life and painting in ancient life?
  • How should you read a piece of art, and in particular a piece of Egyptian art?
  • What are the Nebamun paintings?
  • What is their background? Where did they come from and how did the British Museum acquire them?
  • What do they reveal about ancient life?

To do this, you will examine the Nebamun paintings in detail and begin to put them into context. Finally, you will learn about the ‘period eye’ of their nineteenth-century discoverers, and how they ‘translated’ the ancient paintings into a modern idiom.

Next 1 Painting modern lifeNext
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