Showing posts with label Egypt. Show all posts
Showing posts with label Egypt. Show all posts

05 Works, The Art of War, Pharaonic reliefs of Alma at the battle of Kadesh, with footnotes

After Pharaonic reliefs
Alma at the battle of Kadesh
AI Generated
playground

Alma, a skilled and courageous commander, played a vital role in the Egyptian army led by Ramses II during the invasion of Hittite territories in Palestine and the subsequent push into Syria, culminating in the Battle of Kadesh. As she rode atop her loyal and dependable steed, Alma served as an inspiring figure for her soldiers, instilling in them the necessary strength and fortitude to continue the challenging campaign.

After Pharaonic reliefs
Alma at the battle of Kadesh
AI Generated
playground

Despite the immense challenges posed by the Hittite army, Alma remained resolute, directing her soldiers with precision and inspiring them to display unwavering courage in the face of adversity. Her unwavering determination and unyielding spirit contributed significantly to the Egyptian army's ability to persevere and ultimately achieve victory.


After Pharaonic reliefs
Alma at the battle of Kadesh
AI Generated
Available at deviantart

Alma's unwavering commitment to her soldiers and her expertise in tactical maneuvering made her an indispensable asset to Ramses II's army. Her presence on the battlefield, riding at the head of her soldiers, not only boosted their morale but also served as a symbol of strength and resilience.

After Pharaonic reliefs
Alma at the battle of Kadesh
AI Generated
Available at deviantart

Through her leadership and unwavering dedication to her troops, Alma became a legend within the Egyptian army. Her remarkable contributions during the invasion of Hittite territories and the Battle of Kadesh will forever be remembered as a testament to her bravery and the vital role she played in the success of Ramses II's military campaign.

After Pharaonic reliefs
Alma at the battle of Kadesh
AI Generated
Available at deviantart

The Battle of Kadesh took place in the 13th century BC between the Egyptian Empire led by pharaoh Ramesses II and the Hittite Empire led by king Muwatalli II. Their armies engaged each other at the Orontes River, just upstream of Lake Homs and near the archaeological site of Kadesh, along what is today the Lebanon–Syria border. More on the Battle of Kadesh




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

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05 works, the art of war, pharaoh Thutmose III in Ghaza, with footnotes

Armies of chariots and 10,000 foot soldiers under the pharaoh Thutmose III thundered through Gaza and defeated a coalition of Canaanite chiefdoms at Megiddo; situated in northern Israel, about 30 kilometres (19 mi) south-east of Haifa. 

Megiddo is known for its historical, geographical, and theological importance, especially under its Greek name Armageddon. During the Bronze Age, Megiddo was an important Canaanite city-state and during the Iron Age, a royal city in the Kingdom of Israel.
A fragment of a painted limestone relief dating to about 1400 B.C. from Thebes in Egypt depicts defeated Canaanites
Sandstone, paint
H. 61.5 × W. 115 × Th. 21 cm, 306.2 kg (24 3/16 × 45 1/4 × 8 1/4 in.
The Metropolitan Museum of Art

His march to Gaza to conquer the city of Megiddo was marked by an unexpected decision to take a treacherous and unlikely approach through a narrow path over the mountains. The city of Megiddo was defeated. The taking of Megiddo was important for Egypt’s economy. Without Megiddo’s open trade routes, Egypt could not flourish. The great king’s army of about 15,000 men stopped the uprising in this area and expanded Egypt to an extent it had never known before.

Wall relief from Egypt reveals an image of an ancient Canaanite

Part of the Ancient Egyptian region of Canaan, Gaza was best known in ancient times for its strategic location as an important trading center for Asian, European and North African markets. 

As with many colonial ventures before and since, military conquest led to a new cultural order in the occupied lands. Across Israel, archaeologists have found evidence that Canaanites took to Egyptian customs. They created items worthy of tombs on the Nile, including clay coffins modeled with human faces and burial goods such as faience necklaces and decorated pots.  More on these works

Egypt’s presence in Canaan ended sooner than the pharaohs might have expected. With Canaan under assault from seaborne invaders and hit by drought so severe it caused food shortages, Egypt’s colonial rule began to crumble around 1200 B.C.

The region of Gaza, a 25-mile long, 7-mile wide finger of land along the Mediterranean at the border between Israel and Egypt, has been at the center of geopolitical tug-of-wars for its entire existence. 

Polychrome relief of the warrior king Thutmose III (1479-1425 BC) wearing the Atef crown and false beard, from Deir el-Bahari. Now in the Luxor Museum.

The desirability of the territory resulted in frequent battles for its control. Gaza was conquered by the Philistines in the 13th century B.C., razed by the Hasmonean Kingdom and suffered incursions from the likes of Napoleon and Alexander the Great, whose army put the entire male population to death for refusing to surrender. More on Ghaza





Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints365 Days, and Biblical Icons, also visit my Boards on Pinterest

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27 Paintings from Émile‏ Henri Bernard's ten year stay in Egypt, with footnotes

Émile‏ Henri Bernard
A Seated Oriental Beauty
Oil on canvas
39¾ x 38 in. (101 x 96.5 cm.)
Private collection

Sold for USD 42,000 in Apr 2007

A strong light illumines the figure, reducing the background to a dark plane and yet does not diminish the sense of real dimension. The figure has a certain dignity in countenance, unlike the languid and coy expressions of many other Orientalist models. Bernard conveys his deep visual interest in the subject, carefully recording the items surrounding her. Such objects he would have seen on his travels through Tunisia and Egypt: rosewood clogs inlaid with mother-of-pearl, an ivory fan, gold necklaces and clustered bracelets, a carved-wood Moresque table and a variety of rich fabrics. Bernard's virtuosity is demonstrated in the rendering of silk in the figure's North African dress as well as the model's legs which are expertly painted to show through the sheer material while maintaining her modest beauty. More on this painting

Émile‏ Henri Bernard
L'Egyptienne, c. 1902
Oil on canvas
177.5 x 95 cm. (69.9 x 37.4 in.)
Private collection

Émile‏ Henri Bernard
EGYPTIENNE ACCROUPIE/ CROUCHING Egyptian, c. 1895
Oil on canvas
65 x 81 cm. (25.6 x 31.9 in.)
Private collection

Emile Bernard
Vision of Egypt, c. 1898-1899
Oil on linen canvas
179 x 118 cm
Private collection

Émile‏ Henri Bernard
Women on the banks of the Nile, c. 1900
Oil on canvas
height: 200cm; width: 300cm
  Lille Palace of Fine Arts

Émile‏ Henri Bernard
Femmes et enfants au bord du Nil, c. 1897
Oil on canvas
h: 180 w: 120 cm
Private collection

Émile‏ Henri Bernard
Les porteuses d'eau/ The water carriers, c. 1894–1894
Oil on canvas
42.5 x 66 cm. (16.7 x 26 in.)
Private collection

Émile‏ Henri Bernard
Water carriers, c. 1894
Oil on canvas
89 x 78 cm 
Private collection

Émile‏ Henri Bernard
THREE WOMEN BY THE RIVER
Oil on canvas
Private collection

Émile‏ Henri Bernard
Bread sellers in Cairo or The market in Cairo, c. 1895
Oil on canvas
Height: 43 Width: 60 cm
Private collection

Émile‏ Henri Bernard
Les Égyptiennes, c. 1895
Oil on canvas
50.2 x 61 cm
Private collection

Émile‏ Henri Bernard
Marchands de fruits au Caire/ Fruit vendors in Cairo, c. 1897
Oil on canvas
h: 180 w: 120 cm
Private collection

Émile‏ Henri Bernard
Egyptiennes, c. 1895
Oil on canvas
50 X 60 Cm
Private collection

Émile‏ Henri Bernard
AU BORD DU NIL/ ON THE EDGE OF THE NILE, c. 1900
Oil on canvas
120 x 120 cm
Private collection

Émile‏ Henri Bernard
Banks of the Nile at Marg, evening effect
Oil on canvas
55 x 44,5 cm ; 21 3/4 by 17 1/2 in
Private collection

El Marg is an administrative ward of Cairo, in the north-east of the Cairo Governorate,

Émile‏ Henri Bernard
YOUNG WOMAN BREASTFEEDING, c. 1895
Oil on canvas
46.5 by 65cm
Private collection

Émile‏ Henri Bernard
THE FELLAHS (THE EGYPTIAN TERRASSIERS; ARAB WORKERS, c. 1895
Oil on canvas
82 by 108.1cm., 32 1/4 by 42 1/2 in
Private collection

Émile‏ Henri Bernard
Arab camp, Beduinlager , c. 1902
Oil on canvas
195 x 229 cm.
Private collection

Émile‏ Henri Bernard
Baigneuses au Bord du Nil, 1893
Oil on canvas
86.5 x 66 cm
Private collection

Estimated for CHF 70,000 - CHF 90,000 in June 2017

This painting, which was created shortly after his arrival in Egypt, is a typical example of Bernard's work from that period. Androgynous water bearers and bathers on the banks of the Nile are nude, only adorned by bracelets and anklets, as he often depicted at the time. Presenting a strong contrast to this is a seated elderly woman dressed in black robes. She is likely a nun, as Bernard found shelter in a religious order during that time and later married a Syrian Christian. He was additionally fascinated by the contrasts and connections between nature and religion. More on this painting

Émile‏ Henri Bernard
Arab Festival, c. 1894
Oil on canvas
84 x 110 cm
Musée National des Arts d'Afrique et d'Océanie, Paris.

Émile‏ Henri Bernard
Femmes fellahs au bain, c. 1900
Oil on wood pane
height: 175.7cm; width: 97.3cm
Musée des beaux arts de Reims

Painted in 1900, Femmes fellah au bain is a sort of synthesis between classical culture, to which he returned at that time, and his passion for the Orient. Indeed, Bernard uses large pink and green touches that he structures with a few superimposed white squares. This blurred and colorful style corresponds to his youthful plastic research and contrasts with the very naturalistic bodies of the three women in the foreground. The colors are warm but not flashy, the touch is long and quick, visible in places. The artist expresses in this work a sensual intimacy but without voyeurism. Seized at the time of their toilet, these women seem to be posing for the artist. More on this painting

Émile‏ Henri Bernard
The exotic dancer, c. 1915
Oil on canvas
128.6 x 80.7 cm
Private collection

This painting, his own Odalisque, features a level of naturalism that is quite new to Bernard's work but certainly in keeping with his determination to return to "tradition" and to reject emerging avant garde experimentation.

In this erotically-charged painting, the sensuous female figure, whose breasts are nearly completely exposed and who wears luxurious garments carefully described by Bernard and intended to read as "exotic," glances off to her right rather than meeting the gaze of the viewer. More on this painting

Émile‏ Henri Bernard
Danseuse nue/ Nude dancer, c. 1894
Oil on canvas
cm 150x94
Private collection

Sold for  €4,000 EUR in June 2019

Emile Bernard Nude Dancing Girl with Henna Tatoos and bangles, a veiled woman sitting next to her, cloth, curtain and a vase nearby.

Émile‏ Henri Bernard
Danseuse orientale/ Belly dancer
Oil on canvas
106 x 75 cm. (41.7 x 29.5 in.)
Private collection

Émile‏ Henri Bernard
Danseuse des rues/ Street dancer, c. 1898
Oil on canvas
180 x 120 cm. (70.9 x 47.2 in.)
Private collection

Émile‏ Henri Bernard
In the harem
Oil on board
42 x 29¾ in. (106 x 75.4 cm.)
Private collection

Émile‏ Henri Bernard
AU HAREM
Oil on canvas
42 1/2 by 55 1/2 in. 108 by 141 cm
Private collection

Émile Henri Bernard's most formative artistic years were spent in the city of Paris where the Impressionist style had arisen and dominated the avant-garde scene into the 1880s. He immersed himself in the arts, attending exhibitions and visiting galleries and studying at the École des Arts Décoratifs beginning in 1884. He also trained at the well-respected Atelier Cormon, the studio of the artist and teacher, Fernand Cormon. There he met Henri de Toulouse-Lautrec, with him he formed a lasting friendship. Eventually, he was dismissed for "insubordinate behavior" and thus the radical young artist struck out on his own.

Bernard's close friendships with Paul Gauguin and Vincent van Gogh, two of the most influential artists of the Post-Impressionist period, proved fruitful in many ways, not least of which was the trio's intense co-experimentation; frequently, the produced works in identical themes and also made portraits of one another. Bernard maintained an extensive personal correspondence with Van Gogh and the letters they exchanged provide a unique window into the relationship. It is said that he was the first person to become aware of the importance of Van Gogh's work. Interestingly, Van Gogh's criticism of his work, particularly the biblical themes, prompted Bernard to end the correspondence. In the late 1880s, Bernard developed his unique Cloisonnist and Synthetist styles, which were extraordinarily influential for artists such as Gauguin, Anquetin, and Sérusier. More on Émile Henri Bernard




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 Painting, MIDDLE EASTERN ART, With Footnotes - 35

Rasha Amin, Egypt
Always remember
Mixed media on canvas
 55.1 W x 55.1 H x 0.1 in

"In the real world we find repetitive actions and experiences of violence, hatred, and loneliness. Unfortunately the reality became so connected to the digital world, especially with the rise of social media. As many researches has shown they make us more isolated, responsible for increasing of our negativity, violence, anger and hatred to grow within us.


I've been inspired by the Italian artist Caravaggio's Entombment of the Christ" Rasha Amin

Rasha Amin, an Egyptian artist earned a BFA in interior design in 2003 from faculty of Fine Arts in Helena university in Egypt. She has been working as a visual artist and a graphic designer. With time and practice, she has found an intersection point between them and subsequently developed her own visual and conceptual vocabulary. Her work mostly like connection dots game, as she makes a connection between things that matter in her world, and to build a dialogue with the viewers and ultimately create an open space for questions and thinking beyond the artworks themselves. More on Rasha Amin





Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceAnd visit my Boards on Pinterest

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I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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01 Painting, MIDDLE EASTERN ART, With Footnotes - 14

Walid Ebeid, b. 1970, Egypt
The immigrant
Oil on Canvas
166 H x 142 W x 4 in

"People who feel strangers in their own countries seeking for a better life in other places where they will realize that they are more strange".

Walid Ebeid was born in Cairo in 1970 and raised in Yemen during his childhood. Walid graduated with a BFA from the Faculty of Fine Arts, Helwan University, in 1992. His work has been exhibited internationally, earning him a reputation for his powerful expressive style.

The controversial and provocative paintings of Walid Ebeid range from poignant studies of the female figure to People We May Know in the Egyptian society. Tackling difficult issues like sexuality, immigration, politics and oppression, Walid brings attention to the sufferings, struggles, and hopes of humanity. His realistic oil paintings have broken a great deal of social and moral taboos and challenged different customs and traditions imposed by society, to defend women and the oppressed of all categories and social classes. 

His searches and experiments went through several phases to reach his current phase, which he calls “realistic expressionism.” His artwork resembles him closely. His art reflects reality and the changes taking place around us and mainly focus on strange things that we may quickly lose interest in, but leave a lasting impact. 

“My art is for the people. And it is why people can relate to my art as if it is their own, and why they sometimes ask me to execute certain images, believing that I can express their feelings.” More on Walid Ebeid




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceAnd visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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01 Painting, Art and the Egyptian Woman, Umm Kalthom, with Footnotes

Adel El-Siwi, (Egypt, born 1952)
Umm Kalthom, 2007
Acrylic on canvas laid down on board
170 x 140cm (66 15/16 x 55 1/8in).
Private collection


Umm Kulthum December 31, 1898, (or May 4, 1904) died February 3, 1975) was an internationally renowned Egyptian singer, songwriter, and film actress active from the 1920s to the 1970s. She was given the honorific title Kawkab El Sharq "Planet of the Orient".

Umm Kulthum was known for her extraordinary vocal ability and style, and she was one of the greatest and most influential singers of the 20th century, where she has sold over 80 million records worldwide. Umm Kulthum is considered a national icon in her native Egypt and has been dubbed as The voice of Egypt and Egypt's fourth pyramid. She remains the most revered legendary singer in Egypt and the entire Arabic-speaking world. More on Umm Kulthum

Adel El Siwi ( Behera , 1952) is an artist Egyptian. Adel was born in 1952 in Behera , in Egypt . He studied at the Faculty of Medicine of Cairo in 1976. Meanwhile, independently attended the Faculty of Fine Arts in Cairo. Since 1979 painting becomes a full-time business. In 1980 he moved to Milan , where he lived for the next ten years. In 1990 he returned to Cairo, where he still lives. After the debut exhibition in a gallery in Cairo, he showed his works around the world, from Egypt to Germany from Lebanon to Italy, until arriving in Mexico and Brazil. Parallel to the artistic success, his work dealt with other issues, such as the translation into Arabic of the Treatise on Painting by Leonardo da Vinci. In addition, he worked as art director for the big screen and has signed publications on contemporary art. More on Adel El-Siwi



Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceMiddle East Artists365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.