Prisse d'Avennes. Egyptian Art
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- Create Date：2021-07-03 09:54:14
- Update Date：2025-09-06
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- Author：Salima Ikram
- ISBN：3836565005
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Summary
A lifelong devotee of ancient Egyptian and Oriental culture， the French author， artist， and scholar Achille-Constant-Th�odore-�mile Prisse d'Avennes （1807-1879） is famed as one of the most influential Egyptologists， long before the discipline was even properly established。
Prisse first embarked on his explorations in 1836， documenting sites throughout the Nile Valley， often under his Egyptian pseudonym， Edris Effendi。 Prisse's first publication of notes， drawings， and squeezes （a kind of frottage） came in the form of Les Monuments �gyptiens， a modest collection of 51 plates， but one met with considerable acclaim in popular and intellectual circles。 Encouraged by his success， Prisse returned to Egypt in the late 1850s to expand his work into the collection L'Histoire de l'art �gyptien--together with his first volume， these two tomes make up a truly complete survey of Egyptian art。
His albums cover architecture， drawing， sculpture， painting， and industrial or minor arts， with sections， plans， architectural details， and surface decoration all documented with utmost sensitivity and accuracy。 Even when compared to the products of the great state-sponsored expeditions to Egypt of this period， Prisse's compendium remains the largest， single-handed illustrated record of Egyptian art in existence。
Discover the complete collection of Prisse's unsurpassed illustrations in a visual and archaeological feast of symmetry and complexity。 Once exclusively available as an XL-sized title， this Bibliotheca Universalis edition captures all the mystery and opulence of Prisse's groundbreaking collection in an affordable， compact format。
Prisse first embarked on his explorations in 1836， documenting sites throughout the Nile Valley， often under his Egyptian pseudonym， Edris Effendi。 Prisse's first publication of notes， drawings， and squeezes （a kind of frottage） came in the form of Les Monuments �gyptiens， a modest collection of 51 plates， but one met with considerable acclaim in popular and intellectual circles。 Encouraged by his success， Prisse returned to Egypt in the late 1850s to expand his work into the collection L'Histoire de l'art �gyptien--together with his first volume， these two tomes make up a truly complete survey of Egyptian art。
His albums cover architecture， drawing， sculpture， painting， and industrial or minor arts， with sections， plans， architectural details， and surface decoration all documented with utmost sensitivity and accuracy。 Even when compared to the products of the great state-sponsored expeditions to Egypt of this period， Prisse's compendium remains the largest， single-handed illustrated record of Egyptian art in existence。
Discover the complete collection of Prisse's unsurpassed illustrations in a visual and archaeological feast of symmetry and complexity。 Once exclusively available as an XL-sized title， this Bibliotheca Universalis edition captures all the mystery and opulence of Prisse's groundbreaking collection in an affordable， compact format。
Reviews
Shyam
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Prisse's hand， although criticized by some as being too "pretty"， does justice to the scenes carved and painted by the ancient Egyptians。 Indeed， most of his versions are far closer to the "truth" than those of other artists it his predecessors， contemporaries， and even successors 。 。 。 His work is clean， but not overly prettified and more true to the images made by the ancient Egyptians。Prisse's work was so fine that many other scholars commissioned him to illustrate their books， or used his Prisse's hand， although criticized by some as being too "pretty"， does justice to the scenes carved and painted by the ancient Egyptians。 Indeed， most of his versions are far closer to the "truth" than those of other artists it his predecessors， contemporaries， and even successors 。 。 。 His work is clean， but not overly prettified and more true to the images made by the ancient Egyptians。Prisse's work was so fine that many other scholars commissioned him to illustrate their books， or used his images as they were superior to any others available at the time。__________Prisse's accurate and sensitive recording of Egyptian art throughout the 3，000 years of Egyptian history （and beyond） has provided us with an unparalleled understanding of ancient Egyptian architecture， sculpture， painting， and even industrial arts。 In addition to his skill as an artist， this is the result of his understanding of the historical， social， and religious setting that engendered it， rendering his encyclopedic works invaluable to the study of ancient Egypt。 __________This book combines two works by Prisse。 The first， Egyptian Monuments， comprises 50 plates of primarily black and white drawings of stele and bas-reliefs from major Egyptian Sites， as well as a few colour plates of weapons， jewellery， and boxes。But the real gem of this book is Prisse’s second work， History of Egyptian Art， comprising 159 coloured plates covering a wide variety of Egyptian Art， systematically organised into:1。 Architecture2。 Drawings3。 Sculpture4。 Painting5。 Decorative ArtsAccompanied by illuminating commentaries by Prisse himself， the beautiful colour plates display various examples of each of the above categories of Egyptian Art， showcasing different styles and throughout time。 Many of the works drawn by Prisse have been lost， and several Plates display very unusual examples of Egyptian Art （be this subject or style）， examples which a non-specialist reader will no doubt be both surprised and delighted to discover。The book also contains an introductory essay by Salima Ikram as well as an Appendix including a map of Pharonic Egypt， Chronology， and Glossary。The text is trilingual， being in English， German， and French。There is also a smaller， Bibliotheca Universalis edition of this book， but as with any of those editions which are also available in a larger format， I would highly recommend the XL edition if one possesses both the space and the funds。Highly recommended for anyone with an interest in Ancient Egypt， especially Egyptian Art。__________Considering the variety of capitals which decorate the temples of Esna， Edfu， Kom Ombo， and Philae， most of which combine purity of contour with a quite remarkable richness and choice of ornamentation， it is astonishing that it was once thought that just three architectural orders alone constituted the true beauty of that art and that beyond thee， nothing was in good taste and nothing was correct。 The Greeks invented stories to disguise their plagiarism of Egyptian forms， but the Egyptians had no need of similar fabrications: they copied nature and in her found inspiration to produce their most beautiful works of art。 The calyx of the lotus flower poised on its clustering stem furnished the shape of the column， its base and its capital， while the palm tree provided a second model and the rushes yet another， of great originality， amongst forms which were as graceful as they were varied。 —History of Egyptian Art， Plate 24These two ceilings， composed of scrolls， lotus flowers， and skeletal bulls’ heads crowned with a patera or rosette， are amazingly evocative of Classical Antiquity。 The two ceilings on this plate derive their particular interest from a passage in Herodotus where he reports how， in the course of sacrifices， a curse was put on the animal’s heads。 No Egyptian would eat them and the priests would throw them in the river， unless there was some market close by where they could sell them to Greek merchants who did not share their scruples。 Herodotus was wrong: two [animals’ heads] are to be seen amongst the victuals offered by Ramesses VII to the barque of Amun， in the beautiful hypogeum from which ceiling no。 2 is taken: and this custom appears to have been in force at all periods， even in the time of Herodotus。 Is it not strange to see how a plate of decoration can refute a passage in the works of the Father of History？ —History of Egyptian Art， Plate 33The talent of the Egyptian artist is at its height in the reproduction of every species of animal。 It has often been said that the animals sculpted by the Egyptians were in general of far higher quality than the human figures， and that this was because the artists ere allowed greater freedom in their interpretation。 The works of art of the sculptors do indeed bear out the fact they they had an especial preference for the study of animal forms: the figure of the quadrupeds in particular is more vital and its essence conveyed with greater depth than that of the human figure; the pose is natural and the likeness perfect。 The animals which feature most frequently on the monuments are rams lions， oxen， horses， jackals， monkeys， hawks， ibis， vultures， crocodiles， and scarabs。 —History of Egyptian Art， Plate 98 。。。more
Sharon Barrow Wilfong
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