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Eternal Egypt: Masterworks of Ancient Art from The British Museum, February 28, 2004 to June 6, 2004

The exhibition is organized by the American Federation of Arts and The British Museum.

Eternal Egypt: Masterworks of Ancient Art from The British Museum, a comprehensive exhibition mounted from one of the world's most outstanding Egyptian art collections, will come to the Royal Ontario Museum (ROM) in Toronto from February 28, 2004 to June 6, 2004. The ROM's recently upgraded Garfield Weston Exhibition Hall will be the first Canadian venue in the North American tour of this acclaimed exhibition.

Eternal Egypt illustrates the development and achievements of ancient Egyptian art over more than three thousand years, from the pre-Dynastic to the Roman Period (c.3100 B.C. to A.D. 170). Concentrating on splendid objects from the Middle and New Kingdoms and the Late Period, the exhibition's diverse works include mummy masks, coffins and other funerary items, sculpture and relief, papyri, ostraca (pottery shards used as writing surfaces), jewellery and cosmetic objects. Made possible by rebuilding at The British Museum that required the temporary removal of these objects from display, the exhibition boasts 144 exceptional artifacts, some of which have never before left the British Museum or have not been exhibited for years.

"We are delighted to be the first Canadian museum to present this magnificent survey of the art of pharaonic Egypt from The British Museum, said William Thorsell, ROM Director and CEO. "A great popular success at its previous venues, this exhibition allows our visitors to experience the creative genius of ancient Egypt, more than 5000 years after its beginnings."

Eternal Egypt provides a vivid panorama of the entire history of Egyptian art, expressed through one of the world's richest Egyptian collections," commented Krzysztof Grzymski, Senior Curator in the ROM Department of Near Eastern and Asian Civilizations (NEAC), and the ROM's co-curator for the exhibition. "The British Museum's astonishing collection will probably never travel again in our lifetimes and is closely tied with the genesis of Canadian Egyptology and the creation of the ROM's earliest collections. In the early 1900s, the ROM's founder, Charles Trick Currelly, worked on some of the excavations that originally provided some of this material to The British Museum while also acquiring pieces for the ROM."

"As an art show with grand masterpieces from each period of history, Eternal Egypt complements our own permanent Egyptian galleries beautifully," added Roberta Shaw, Assistant Curator, NEAC. "It covers the same period as our galleries, which tell the story of this great culture mainly through archaeological objects of the material culture."

"Ford Motor Company Fund is proud to be a partner in bringing this world class Egyptian collection to Toronto. The culture of Egypt is a foundation for the study of art, history, geography and many other subject areas studied in our schools today," said Sandra E. Ulsh, President, Ford Motor Company Fund. "At Ford, education is central to our mission. We want our community, our children, and visitors from all walks of life to enjoy and learn from exploring rich and diverse cultures of the world."

THE EXHIBITION
Egyptian antiquities, which formed part of The British Museum since its foundation in 1753, were boosted in importance after the British army captured Napoleon's forces in Egypt in 1801 and confiscated several large objects for the Museum, including the famous Rosetta Stone. Public and expert interest grew as acquisitions continued throughout the 19th and 20th centuries. Today, The British Museum's Department of Egyptian Antiquities houses more than 100,000 objects, the largest such collection outside Cairo.

Unfolding in chronological order, Eternal Egypt uses the best of this storied collection to illustrate the development, continuity and stylistic changes in more than three thousand years of Egyptian art. The exhibition is divided into six main sections, each focusing on a specific historical period, plus two special rooms that delve into important ongoing themes in Egyptian art: the use of gold and other precious metals, and the funerary arts. Section titles are bolded, below.

The Introduction area welcomes the visitor with three monumental, iconic pieces of The British Museum's Egyptian collection: the grand, seven-foot long Lion of Amenhotep III (18th Dynasty, c.1390-1352 B.C.; cat. 51), one of a pair of red granite lions acquired in 1835 that traditionally flanked the entrance to the British Museum's Egyptian galleries: the colossal quartzite Head of Amenhotep III (18th Dynasty, c.1390-1352 B.C.; cat. 52), a four-foot fragment of a much larger statue depicting the New Kingdom ruler under whom Egyptian art is considered to have reached its apex; and the Column Capital with Hathor Emblem (22nd Dynasty, c.924-850 B.C.; cat. 112), a large column fragment depicting the goddess with cow's ears and a curled wig.

Egyptian art emerged from a cultural continuum that began centuries before Egypt became unified as the world's first nation-state under the pharaoh Menes in the First Dynasty (c.3100 B.C.) with its capital at Memphis, near modern Cairo. Even at this early stage, the distinctive traits of Egypt's artistic conventions, as well as its religion, kingship and hieroglyphs had been established. In Egyptian art, every object was created to fulfill a magical, religious function, usually in a tomb or temple. The pharaoh, who was both the gods' chief priest and a god himself, bore responsibility for keeping earthly order by pleasing the volatile gods. The Early Dynastic section offers a tiny, worn ivory Statuette of a King. (mid-1st Dynasty, c. 3000 B.C.; cat. 1) which may be the earliest representation of an Egyptian pharaoh and shows the attributes of divine kingship, including the White Crown.

During the Old Kingdom (3rd to 6th Dynasties, c.2686-2181 B.C.), the classical Egyptian art style was expressed in monumental pyramids, decorative raised reliefs, three-dimensional sculptures and portraits of royalty. A Royal(?)Woman (4th Dynasty, c.2613-2566 B.C.; cat. 5), a sensuous statuette in calcite (Egyptian alabaster), was among this exhibition's Old Kingdom masterpieces that were also featured in the 2000 exhibition co-curated by and presented at the ROM, Egyptian Art in the Age of the Pyramids. The Striding Figure of Meryrahashtef (6th Dynasty, c.2345-2181 B.C.; cat. 9), a refined 23-inch ebony carving, exemplifies the elongated figure type favoured towards the end of the Old Kingdom, in a relatively rare surviving wood sculpture.

Following the First Intermediate Period (7th to 10th Dynasties, c.2181-2025 B.C.), a time of political decentralization and civil disorder in which Egyptian art developed a number of regional variations, the Middle Kingdom (c.2040-1650 B.C.) began with the reunification of Egypt in the Eleventh Dynasty. Throughout Egyptian history, the return of central rule often brought a renewed interest in the past and a cultural renaissance as the new ruler asserted power. The well-preserved painted sandstone Head of Mentuhotep II in a White Crown(11th Dynasty, c. 2055-2004 B.C.; cat. 15) expresses the assimilation of the Theban king who re-unified Egypt with the god Osiris, king of the dead.

At the ROM, Eternal Egypt places a special focus upon Deir el Bahri (pronounced "dare-el-BAH-ri"), a major archaeological site near Thebes, beside the Valley of the Kings. Founded in the Middle Kingdom, it became even more important later as the site of the New Kingdom temple of Queen Hatshepsut. In the early 1900s, a British expedition excavated Deir el Bahri and among the team was Charles Trick Currelly, founder of the Royal Ontario Museum. The birth of Canadian Egyptology dates from this excavation, leading directly to the establishment of the ROM, its Egyptian collections and permanent gallery. Two painted limestone relief fragments in the exhibition from the funerary temple of Mentuhotep II (cat. 17 & 18) have their companion pieces on permanent display at the ROM.

During the High Middle Kingdom (12th Dynasty, c.1985-1795 B.C.) Egyptian art drew from the archaic styles of the Old Kingdom and nonroyals began to commonly erect statues in temples and tombs. The limestone Block Statue and Niche Stela of Sahathor (12th Dynasty, c.1922-1878 B.C.; cat. 25) depicts a man seated on the ground with crossed arms resting on his drawn-up knees, the defining pose of the new "block statues" that emerged in this period. The Late Middle Kingdom saw a revival of portraiture, though it was characterized by more somber facial expressions than the archaic art on which it was often based. One of the most famous Egyptian statues in The British Museum, the large granite Standing Statue of Sesostris III (12th Dynasty, c.1874-1855 B.C.; cat. 29), expresses the burden of kingship and the pessimism typical of the late Middle Kingdom. During the Second Intermediate Period (14th to 17th Dynasties, c.1750-1550 B.C.), Egyptian art greatly declined under the rule of the Near Eastern Hyksos kings in the north and the threat of the powerful kingdom of Kush from the south. Little art survives from this period.

Another unique feature of the ROM's version of Eternal Egypt is The Gold Room, which groups excellent examples of Egyptian gold jewellery, statuettes and other precious metal art forms. Abundant in the New Kingdom, gold was considered the substance of the gods and royals and commoners alike revered the metal for its divine attributes. Highlight pieces include the Figure of Amun(early 19th Dynasty, c.1295-1213 B.C., cat. 82), a rare silver and gold cult statuette of the god Amun, and the splendid Pair of Rigid Hinged Cuff Bracelets of Prince Nimlot (22nd Dynasty, c.945-924 B.C. or 924-889 B.C.; cat 116) with lapis lazuli and glass inlays depicting the god Horus as a child.

Egypt was reunified by the pharaoh Ahmose, founder of the Eighteenth Dynasty (c.1550-1295 B.C.) at the start of the New Kingdom (c.1550-1069 B.C.). After military successes that extended the empire from Northern Africa to the Middle East, this period brought Egypt unprecedented power and wealth, much of it used to construct large new temples in the Valley of the Kings. The fine greywacke Head from a Statue of Thutmosis III (18th Dynasty, c.1479-1425 B.C.; cat. 43), co-regent and stepson of Queen Hatshepsut, is the cover image of the exhibition catalogue. After her death, and during his sole rule, the great conqueror Thutmosis ordered all images and references to her erased. The Pseudo-block Statue of Tety (18th Dynasty, c.1479-1425 B.C.; cat. 47) shows a later variation of this type of sculpture, with an unusually long genealogical inscription on the lower legs. Cosmopolitan imperial Egypt reached its peak under Amenhotep III, who ruled from c.1390-1352 B.C. Objects from this period are exhibited together in The Scribe as Artist, to show how many painters and sculptors were also trained to be scribes, a relatively privileged class, since hieroglyphic inscriptions were so integral to Egyptian art.

The religious heretic Akhenaten, Amenhotep III's successor, and his wife Nefertiti were the centre of a radical new religion that worshipped only the sun god, Aten, from a new royal court based in Amarna. Distinctive new stylistic conventions were introduced into Egyptian art for a brief period, which were later suppressed by his successors. The Trial Piece with Head of Akhenaten in Sunk Relief (18th Dynasty, c.1352-1336 B.C.; cat. 61) is a small limestone that shows the unique aesthetic of Amarna art in the king's languid features and pose. Tutankhamun Presenting Offerings (18th Dynasty, c.1336-1320 B.C.; cat. 63) is a more traditional, almost life-sized granite sculpture depicting the son of Akhenaten, who abandoned Amarna and restored the old gods, in the guise of a priest. Creative Solutions presents a few examples of decorative arts from this period to show the Egyptians' artistic approach to utilitarian objects using fine craftsmanship.

Art in the Late New Kingdom, the Nineteenth and Twentieth Dynasties (c.1295-1069 B.C.), was dominated by the pharaoh Ramesses II (Ramesses The Great, c.1279-1213 B.C.) whose statues and structures are notable for their quantity and colossal size (such as the Temple at Abu Simbel), though they lack a unifying style. However, small wooden funerary statues, such as the delicate Standing Man (late 18th or early 19th Dynasty, c.1336-1279 B.C; cat. 91) show the continuation of Old Kingdom conventions in woodcarving, while using the idealized facial expressions and elaborate clothing of the late New Kingdom.

The Funerary Arts room presents a number of interesting topics concerned with living well in the Afterlife. The Book of the Dead: Drawing and Painting on Papyrus offers sections from papyrus scrolls containing magical spells for the protection of deceased souls in their dangerous journey through the underworld. The beautifully preserved Papyrus of Ani: Ani's Judgment (19th Dynasty, c.1295-1186 B.C.; cat. 102), shows the scribe's most grueling test before passing into the Afterlife, as his heart is weighed against a feather representing Maat (the principle of truth and order) by the jackal-headed god Anubis, while Ani recites the spells shown as hieroglyphs around the painted images.

The Mummy as Statue shows how the Egyptians believed that the preservation of the body through mummification was essential to the eternal survival of the spirit of the deceased. The Mummy Mask of Satdjehuty (early 18th Dynasty, c.1500 B.C.; cat. 106) is a spectacular painted and gilded cartonnage mask originally placed over the mummy wrappings of a high-ranking female of the court of Ahmose. Through the history of ancient Egypt, the appearance of mummies, masks and coffins changed dramatically. The Panel Portrait of a Woman (Roman Period, c. A.D. 160-170; cat. 109) is a late example of an exquisite portrait on wood painted in the Greco-Roman style; it was originally wrapped with an uncoffined mummy that was likely kept at home, not entombed.

The artistic trends of the Third Intermediate Period (21st to 25th Dynasties, c.1069-656 B.C.) and the Late Period (26th to 30th Dynasties, c.664-343 B.C.), when Egypt underwent incursion from Libya to the north and conquest by Kush to the south, were often based on past periods. Looking to the Past: Archaism in the 25th and 26th Dynasties delves into this phenomenon through such works as Standing Figure of Tjayasetimu(early 26th Dynasty, c.664-610 B.C.; cat. 123), a four-foot limestone sculpture that imitates Old Kingdom tomb statues in almost every aspect. The most important new trend was the emergence in the Twenty-sixth Dynasty of the distinctive Saite style for figures, with softer, fleshier forms. This style became the basis for most sculpture to the end of pharaonic history, as exemplified by the Head of a King (30th Dynasty, c.380-362 B.C.; cat. 135) a 15-inch greywacke sculpture that typifies the style's highly idealized, mannered features, later adopted by the early Ptolemies.

The final section of Eternal Egypt covers the Ptolemaic and Roman Periods (332 B.C.-A.D. 642). The Ptolemaic Dynasty, Macedonian in origin and Hellenistic in culture and lifestyle, ruled Egypt for three centuries as traditional pharaohs (the last of whom was Cleopatra VII, 51-30 B.C.) from Alexandria, the city founded by Alexander the Great. Although they remained foreigners in their own land, the Ptolemies strongly supported the construction and renovation of temples and ancient monuments and erected traditional looking statues of themselves. The rare basalt statuette of Sematawy Holding A Naos (mid-second-first century B.C.; cat 141) shows a priest holding a small shrine with the god Atum, distinguished by his overlarge, bald head and fleshy face rendered in the Hellenistic style, a fine example of the striking mix of cultures near the end of the Egyptian empire.

PROGRAMS
During the exhibition, a full series of ROMLife programs and school-related activities will be offered including an Egypt-themed Connecting, a specially planned evening for singles. On Friday, March 26, from 6 p.m., Gayle Gibson, ROM educator and president of the Society for the Study of Egyptian Antiquities, presents Thinking About Eternity, an engaging lecture, complemented by delicious hors d'oeuvres, cash bar (and one complimentary drink) and door prizes. Connecting events are frequently sold out and pre-registration is highly recommended. The monthly program Home Movies, a décor and fashion film festival during which films are seen from a new perspective, is to be launched in a March 25th opening event. The series' first screening and discussion takes place that evening, featuring 1934's Cleopatra with Claudette Colbert. Other film titles are to be announced at a later date.

An array of Ancient Civilizations programs takes place over a number of weeks including Women in Ancient Egypt (4 sessions commencing January 31); Ancient Egypt: Kings, Commoners & Culture (6 sessions from February 2); Hieroglyphs: The Adventure Continues (6 sessions from February 3); Secrets of Eternal Egypt (4 sessions from February 28); and Thinking About Eternity: Religion and Philosophy in Ancient Egypt (4 sessions from March 22). These are offered by two ROM educators, Dierdre Keleher, a doctoral candidate in Egyptology at U of T and Gayle Gibson, president of the Society for the Study of Egyptian Antiquities.

On Tuesday, February 17, the 12th Annual Studies in Silver Lecture focuses on Egyptian Revival Silver with Guest Speaker John D. Ward of Sotheby's, New York. Ticket holders are invited to attend to bring silver pieces to an Identification Clinic prior to Mr. Ward's lecture in Theatre ROM. Refreshments will be served.

For children, March Break Camp (March 15-19) and Saturday Morning Club (eight sessions commencing January 17) get into the act with special Eternal Egypt themed programs. All details pertaining to pricing, start times and ticket purchases for all ROM programs may be obtained at 416-586-5797 or at www.rom.on.ca and click on ROMLife.

OTHER INFORMATION
Eternal Egypt at the ROM is a follow-up exhibition to Egyptian Art in the Age of the Pyramids (February to May 2000), the most successful single exhibition in the ROM's history, which was co-curated by the ROM, the Louvre (Paris) and The Metropolitan Museum of Art (New York). Other dates in the Canadian tour include Victoria's Royal BC Museum (July 10, 2004 through October 31, 2004) and Montreal's Museum of Fine Arts (January 22, 2005 to May 15, 2005).

Admission to Eternal Egypt is included with paid general admission (see details below). Advance, timed tickets are now on sale through TicketKing at 1-800-461-3333 or 416-872-1212 or in person at the ROM. Groups of ten or more adults may call Mirvish Group Sales at 416-593-4142 or 1-800-724-6420 for information on special rates and private guided tours. Schools and student groups should call the ROM's Education Department at 416-586-5801. Informative audio guides, enhancing the visitor's experience of the exhibition, are available at a cost of $5.00. Throughout Eternal Egypt's engagement, docents from the Department of Museum Volunteers will offer guided tours of the exhibition at regularly scheduled times.

A beautifully illustrated catalogue, Eternal Egypt: Masterworks of Ancient Art from The British Museum, with photographs of every piece and enlightening essays by the organizing curator Edna Russmann (Brooklyn Museum of Art, New York) and others, is now available in the ROM Reproductions Shop at the cost of $65.00.

It's a good time for a Family Membership to the ROM. For $99.00, a family of up to two adults and four children under 18 years of age will enjoy free tickets to Eternal Egypt and other spectacular exhibitions including Pearls: A Natural History (September 18, 2004 to January 9, 2005), for the next year as well as unlimited free general admission and discounts at the ROM Reproductions Shop. An exclusive Eternal Egypt Members' Preview, including lectures in Theatre ROM, takes place on Friday, February 27. Please call 416-586-5700 for further information on the Preview and the benefits of becoming a Member of the ROM.

The ROM Foundation hosts a Gala celebrating Eternal Egypt's opening. Taking place at the ROM on Thursday, February 26, the evening will be a warm oasis as exotic foods and entertaining dancers transport guests away from a cold winter's night in Toronto into the heart of eternal Egypt. Additional information and tickets are available by contacting the ROM Foundation's Lori Lytle at 416-586-8064 or

loril@rom.on.ca.

Eternal Egypt will be highlighted in an engaging and colourful style on the ROM website. Visit www.rom.on.ca for full details just prior to the start of its engagement. Educational content for teachers and students will be included.

Since its founding in 1903, Ford Motor Company has supported cultural life in many areas. With automotive operations around the world, Ford is dedicated to enhancing opportunities for the people living and working in the communities where it does business. Today, the company supports numerous arts institutions and cultural programs, from touring art exhibitions and performing arts events, to university scholarships and educational programs for elementary school children. Working with hundreds of nonprofit partners in 2002, Ford contributed over $11 million to enhance the arts and humanities in communities throughout North America, with additional grants for arts education contributions. For more information on programs funded by Ford, visit www.ford.com.

This exhibition has been financially assisted by the Ontario Cultural Attractions Fund, a program of the Government of Ontario through the Ministry of Culture, administered by the Ontario Cultural Attractions Fund Corporation.

 

 

Issue date:
January 22, 2004

For more information:
Media Relations
Tel.: 416.586.5547
Fax: 416.586.8022
E-mail: media@rom.on.ca

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