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"Egypts" in England: The representat...

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"Egypts" in England: The representation of ancient Egypt at the Sydenham Crystal Palace.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"Egypts" in England: The representation of ancient Egypt at the Sydenham Crystal Palace./
作者:	Goodin, Alexis Lee.
面頁冊數:	425 p.
附註:	Source: Dissertation Abstracts International, Volume: 69-06, Section: A, page: 2019.
Contained By:	Dissertation Abstracts International69-06A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3318320
ISBN:	9780549675495

"Egypts" in England: The representation of ancient Egypt at the Sydenham Crystal Palace.
Goodin, Alexis Lee.

"Egypts" in England: The representation of ancient Egypt at the Sydenham Crystal Palace. - 425 p.

Source: Dissertation Abstracts International, Volume: 69-06, Section: A, page: 2019.

Thesis (Ph.D.)--Brown University, 2008.

In 1854, a radical interpretation of ancient Egypt was unveiled at the Sydenham Crystal Palace. Designed by Owen Jones (1809--74) and Joseph Bonomi (1796--1878), the Egyptian Court at Sydenham was a bold synthesis of Egyptian architecture, sculpture, and sacred writing in brick, plaster and paint. This study explores the significance of this somatic interpretation of Egypt for Victorians. The aesthetic of this display and its meanings are examined against other representations of ancient Egypt exhibited at Sydenham and elsewhere in England, revealing the striking fluidity in interpretation of this subject.

ISBN: 9780549675495Subjects--Topical Terms:

635474
Art History.

"Egypts" in England: The representation of ancient Egypt at the Sydenham Crystal Palace.
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520 $a In 1854, a radical interpretation of ancient Egypt was unveiled at the Sydenham Crystal Palace. Designed by Owen Jones (1809--74) and Joseph Bonomi (1796--1878), the Egyptian Court at Sydenham was a bold synthesis of Egyptian architecture, sculpture, and sacred writing in brick, plaster and paint. This study explores the significance of this somatic interpretation of Egypt for Victorians. The aesthetic of this display and its meanings are examined against other representations of ancient Egypt exhibited at Sydenham and elsewhere in England, revealing the striking fluidity in interpretation of this subject.
520 $a A pastiche of architectural and sculptural styles executed with pristine finish, the Egyptian Court eschewed the aesthetic of the ruin. In chapter one, Jones's and Bonomi's Egypt is contrasted with the ancient Egypt on offer at the British Museum, an institution whose collection they utilized, in part, to form the Sydenham display. The study of the mandates of these institutions, their collections, and their audiences reveals vastly different Egypts constructed for different publics. The second chapter examines the photographic representation of Egypt at Sydenham. Images by Maxime Du Camp and Francis Frith were exhibited in several contexts at Sydenham. Photographs challenged the authority of the Egyptian Court and generated new interests and anxieties in Egypt itself. How the Directors and their publics reconciled photographs of geographical Egypt with the Egyptian Court is explored. The third chapter of this dissertation addresses the problems of authenticity and authority of Sydenham's Egypts. The significance of the ruin, which appeared at Sydenham in an exhibition of antiquities as well as in the drastic and gradual wear of the Sydenham plaster displays, is considered. Egypt as ruin presented another way for Sydenham publics to engage with ancient Egypt. Ultimately, the diverse aesthetics of Sydenham's displays invited Victorians to look, with new eyes, on both ancient and modern Egypt, and pointed to the complexity of this geography and its people.
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