Relevant bibliographies by topics / Drawing, egyptian – exhibitions

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Academic literature on the topic 'Drawing, egyptian – exhibitions'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Drawing, egyptian – exhibitions"

1

Park, Hyungji. "“GOING TO WAKE UP EGYPT”: EXHIBITING EMPIRE IN EDWIN DROOD." Victorian Literature and Culture 30, no. 2 (2002): 529–50. http://dx.doi.org/10.1017/s1060150302302080h.

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IN 1821 IN PICCADILLY, Giovanni Battista Belzoni staged a spectacular full-scale reproduction of royal tombs he had uncovered in the Valley of the Kings. Crowds of paying visitors milled through rooms at the Egyptian Hall, marveling at enormous stone artifacts and at colorful wall paintings replicating ancient Egyptian tomb interiors. About half a century later and around the globe, tens of thousands of guests, including many European luminaries, witnessed the grand 1869 opening of the Suez Canal and fêted the achievement of its chief engineer, Ferdinand de Lesseps, with fireworks and extravag
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Gadamska-Serafin, Renata. "Norwid and Edmund Chojecki – the Traveller." Studia Norwidiana 38, English Version (2020): 177–216. http://dx.doi.org/10.18290/sn.2020.38-13en.

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The writer Edmund Chojecki (Charles Edmond) was one of Norwid’s most significant acquaintances, already in the Warsaw period, and later in Paris. Their friendship started in Warsaw in the 1840s and lasted a lifetime (or at least until the 1870s), although its preserved epistolary traces are scarce. This article focuses on Chojecki’s reports from his travels and their inspiring influence on Norwid: Edmund’s trip with Count Branicki to the Crimea (Wspomnienia z podróży po Krymie, Warszawa 1845), journey to the North Seas with Prince Napoleon (Voyage dans les mers du Nord, Paris 1857), Chojecki’s
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Liaskos, Orestis, Sofia Mitsigkola, Andreas Arapakopoulos, et al. "Development of the Virtual Reality Application: “The Ships of Navarino”." Applied Sciences 12, no. 7 (2022): 3541. http://dx.doi.org/10.3390/app12073541.

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Virtual reality and 3D modeling techniques are increasingly popular modes of representation for historical artifacts and cultural heritage, as they allow for a more immersive experience. This article describes the process that was adopted for the development of a virtual reality application for four ships involved in the historic battle of Navarino. The specific naval battle was the culmination of military operations during the Greek Revolution in 1827, in which the allied British, Russian, and French fleet defeated Turkish-Egyptian forces. Representative 3D models of four significant warships
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4

Barker, Garry. "Revealing the invisible: The virus is looking at you." Journal of Visual Political Communication 7, no. 1 (2021): 61–87. http://dx.doi.org/10.1386/jvpc_00009_1.

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At the core of the various messages that have been sent out about the Coronavirus is how to deal with an invisible threat. Revealing the invisible is however an ancient issue, one that goes back thousands of years and reoccurs throughout human history. This article is an exploration of the complex interrelationship between several long-standing visual tropes that over historical time have emerged from various cultures in response to a need to communicate invisible forces. Beginning with reflections on the poster for the International Hygiene Exhibition of 1911 held in Dresden, linking in image
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Campays, Philippe, and Vioula Said. "Re-Imagine." M/C Journal 20, no. 4 (2017). http://dx.doi.org/10.5204/mcj.1250.

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To Remember‘The central problem of today’s global interactions is the tension between cultural homogenisation and cultural heterogenisation.’ (Appadurai 49)While this statement has been made more than twenty years, it remains more relevant than ever. The current age is one of widespread global migrations and dis-placement. The phenomenon of globalisation is the first and major factor for this newly created shift of ground, of transmigration as defined by its etymological meaning. However, a growing number of migrations also result from social or political oppression and war as we witness the c
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Books on the topic "Drawing, egyptian – exhibitions"

1

Falafly, Hend El. Senses & sensibilities. Art Sawa, 2012.

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2

1941-, Noever Peter, and Österreichisches Museum für Angewandte Kunst., eds. Verletzliche Beute: Spätantike und frühislamische Textilien aus Ägypten ; [MAK, Wien, 07.12.2005-05.06.2006] = Fragile remnants : Egyptian textiles of late antiquity and early Islam. Hatje Cantz, 2005.

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ANDREU-LANOE, GUILLEMETTE. L'ART DU CONTOUR - LE DESSIN DANS L'EGYPTE ANCIENNE - CATALOGUE DE L'EXPOSITION (COEDITION ET MUSEE SOMOGY). SOMOGY EDITIONS, 2013.

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Tal R: The Egyptian Boy. Verlag fur Moderne Kunst, 2013.

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5

Volker, Angela, Regina Hofmann de Keijzer, Regina Knaller, Veronika Mader, Christine Stuhrenberg, and Anke Weidner. Fragile Remnants: Egyptian Textiles of Late Antiquity and Early Islam. Hatje Cantz Publishers, 2006.

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6

Los dibujos del tiempo: Impresiones del templo de Edfú : apuntes, bocetos y dibujos a partir de las figuras de los sacerdotes ... = The drawings of the time ... Caja Granada, 2010.

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7

British Museum and Edward Augustus Bond. Guide to the Exhibition Galleries of the British Museum, Bloomsbury: Departments of Printed Books, Manuscripts, Prints and Drawings, Coins and Medals, Egyptian and Assyrian Antiquities, Greek and Roman Antiquities, British and Medieval Antiquities. Creative Media Partners, LLC, 2018.

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Museum, British. Guide to the Exhibition Galleries of the British Museum, Bloomsbury: Departments of Printed Books, Manuscripts, Prints and Drawings, Coins and Medals, Egyptian and Assyrian Antiquities, Greek and Roman Antiquities, British and Medieval Antiquities. Creative Media Partners, LLC, 2023.

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Book chapters on the topic "Drawing, egyptian – exhibitions"

1

Stutz, Liv Nilsson. "To Gaze Upon the Dead: The Exhibition of Human Remains as Cultural Practice and Political Process in Scandinavia and the USA." In Archaeologists and the Dead. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198753537.003.0021.

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The clattering sound of a child’s shoes across the cold stone floors; the echo is magnificent. I am nine or ten years old and I make my way through the prehistoric exhibition at the National Museum in Copenhagen. The dimly lit display cases are filled with arrowheads, heavy beads of perforated amber, funnel beakers, and bronze artefacts. I reach my goal, the alluring Bronze Age oak cists where the buried men and women from the heaths of Jutland are looking back at me. I touch the glass. My eyes wander over their reddened hair and their clothes, stained in deep shades of peat brown. My eyes see
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