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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ On The Antique Painting In Encaustic Of Cleopatra: Discovered In 1818 John Sartain, Cosimo Ridolfi (marchese), Reinhold Schoener G. Gebbie & co., 1885 Encaustic painting
What did Cleopatra really look like? On the front cover is a replica of the original painting of Cleopatra, commissioned by Octavian Augustus on August 12, 30 B.C. Furious at her suicide, which deprived him of his plans to make her take part in the Roman tradition of parading prisoners in chains through the streets of Rome, Octavian ordered the artist Timomachus (who had earlier painted Cleopatra for Mark Antony) to create a new portrait of the Queen at the moment of her death. The finished portrait, in the encaustic technique, was mounted on a cart that was drawn slowly along the route of the victory parade. It caused a sensation and was viewed by thousands. Later, Octavian had it placed in the Temple of Venus as an offering where it was kept on public display for many years. Many years later, the Emperor Hadrian acquired it for his extensive art collection that was housed at his villa in Tivoli, outside of Rome. The painting, at some time after Hadrian's death, was place in a wooden crate and hidden in a cellar at Hadrian's Villa. It lay hidden and forgotten until 1818 when it was rediscovered in a lot of scrap lumber. The painting, broken into 14 pieces, was painstakingly reassembled and copied. The image alongside was created by 3D computer modeling techniques combined with digital illustration, and is based on the Greco-Roman sculptures of Cleopatra, antique engravings of Octavian's Portrait of Cleopatra, and detailed eye-witness descriptions from writers, artists and reporters who viewed the painting when it toured Europe in the 19th century. This remarkable book tells the story of the painting and its history in full.
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"How paintings were made--in the most literal sense--is an important but largely unknown aspect of the story of American art. This book, like the authors' previous volume on American painting techniques from the colonial period to 1860, is based on descriptions of the materials and methods that painters used, as found in artists' notebooks, painting manuals, magazines, suppliers' catalogues, letters, diaries, books, and interviews. In interpreting this evidence, the authors have made use of their experience as conservators who have treated many important American paintings."--Book jacket.
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The cult, magic, reign, and resurrection of the first female ruler in Egypt • Reveals the achievements of Sobekneferu, the political and religious issues of her age, the temples and ruins associated with her, and her continuing impact on ancient Egypt after her reign • Discusses Sobekneferu’s magical beliefs and practices centered on the crocodile god Sobek, the hippo goddess Neith, and their representation as constellations • Examines the modern-day resurrection of Sobekneferu among mystics and occultists of Victorian London, including her role in Bram Stoker’s shocking gothic novel, The Jewel of the Seven Stars Cleopatra. Nefertiti. Hatshepsut. All of them are ancient Egyptian female rulers who rose above their predominantly patriarchal societies to become controllers of a great empire. Missing from this list, however, is Sobekneferu, ancient Egypt’s first female ruler. Why was the reign of this powerful woman all but forgotten? Piecing together the lost history of the first female pharaoh, Andrew Collins presents the first comprehensive biography of Sobekneferu. Using every text and monument that concerns Sobekneferu and her time in power, he examines her achievements as ruler, the political and religious issues of her age, the temples and ruins associated with her, and her continuing impact on ancient Egypt after her reign. He explores her relationship with her brother Amenemhat IV, her sister Neferuptah, and their father Amenemhat III, regarded as one of the most beloved pharaohs of the Middle Kingdom. He examines Sobekneferu’s untimely end, the fate of her body, and the cult that developed in her name. Discussing Sobekneferu’s magical beliefs and practices, Collins shows how they centered on the crocodile god Sobek, the hippopotamus goddess Neith, and Sekhmet, the goddess presiding over divine power. He reveals also how Sobekneferu’s suspected pyramid was positioned to align with the setting of Eltanin, the brightest star in the constellation of Draco, seen in ancient Egypt as the celestial form of Sobek. Examining the modern-day resurrection of Sobekneferu among the occultists and mystics of Victorian London, Collins shows how she is the true inspiration behind every ancient Egyptian female queen who comes back to life after her tomb is found—as featured first in Bram Stoker’s shocking 1903 novel The Jewel of Seven Stars and later in several modern blockbuster movies. Revealing how Sobekneferu has left a lasting impact on culture and occulture through the ages despite being nearly erased from history, Collins shows how her continuing legacy is perhaps, ultimately, her true resurrection.