The Many Faces of Nefertiti Dietrich Wildung 9783775734851 Books
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The Egyptian Museum in Berlin devotes an entire room to one of the most spectacular examples of Egyptian sculpture in existence a limestone and stucco bust of Queen Nefertiti, created around 1340 BC by the court sculptor Thutmose, in whose studio Nefertiti herself stood as a model for the work. It was this bust that, upon its discovery in 1912, made the exceptionally beautiful queen the household name she is today. Celebrating the 100th anniversary of its discovery, this volume looks at the modern history of the bust. Dietrich Wildung, Director of the Egyptian Museum from 1989 to 2009, brings his decade of familiarity to bear upon this world-famous, 3,300-year-old sculpture, exploring its reception in twentieth-century art and literature.
The Many Faces of Nefertiti Dietrich Wildung 9783775734851 Books
An elegant little paperback written by one who probably knows more about Nefertiti's famous bust than anyone else on earth. For this reason alone it is a fascinating read. The book is published in German, French, and English editions, all with Arabic translation as a last chapter (the arabesque script is a delight for the eyes even if one does not understand it).Dietrich Wildung illustrates the discovery of the beautiful Queen at Amarna in 1912 with an early staged photograph and the relevant page from the dig diary, he gives a convincing German view of how the bust ended up in Berlin, and traces the journey of the Queen through two wars, and their aftermath, until she is given pride of place in the restored Neues Museum in present-day Berlin. The author insightfully observes Nefertiti's unique aesthetic and her elevation into an Egyptian icon. He accepts her discoverer's belief that the bust was a sculptor's model which never had an inlaid left eye. However this reviewer feels the bust was originally destined for some kind of prominence at Amarna, because it was found with a smashed matching painted-limestone bust of the King, which still has a few traces of gold leaf--too extravagant for a workshop model--and the beautiful Queen is meticulously painted on both front and back, even on the top of her crown. Perhaps she was about to receive her other eye and touches of gold when Akhenaten died.
Wildung gives an interesting version of the Amarna succession based in part on the DNA and text analysis of H. A. Schlogl's recent research (available only in German). Time will tell if it holds up. Wildung also has fascinating insights into the female aspects of Akhenaten's religious vision and reveals the astounding process of the bust's ancient manufacture. The little book is packed with wonderful surprises.
It might be of interest to some that this reviewer was invited by Dietrich Wildung, Director of the Egyptian Museum then in Charlottenburg, to a private showing of the collection. It was evident that the Director dearly loved the treasures which had been entrusted to his care. He told us that early that morning he had climbed up on a ladder to adjust the lighting on Nefertiti so that we could see the very subtle creases under her eyes. He left us alone with her. And I will never forget the unbelievable feeling of being face to face with this, the most famous, the most beautiful, Queen of Egypt. The more than three thousand years between us melted away. This thanks to the kindness of Dietrich Wildung.
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The Many Faces of Nefertiti Dietrich Wildung 9783775734851 Books Reviews
Good book !
I have already commented on this book and my comments are supposed to have been posted in the section about the video of "the Thief of Bagdad". However, here is an additional rating "This book is not worth more than a can of sardines; not even 10 cents, nor the author of the book "Dietrich Wildung” is worth one penny as I am convinced he is a charlatan of the first order. He knows I said that about him and he doesn't dare open his mouth to contradict me or protect himself, and many people also have read what I said about him. If he was really the expert a few Egyptologists think he is, the Board of Trustees of the Berlin Egyptian Museum would have elected to keep him a few more month rather than retire him in order for him to have the honor and privilege of becoming the “First Museum Director of the “NEW” Berlin Egyptian Museum” which it didn’t, but said it was retiring him simply to camouflage his firing in order to avoid embarrassment because he tricked the Board of Trustees of the Museum into hiring him as Director of the Museum which was his aim to gain more power in controlling the Egyptian Art milieu. He left the Museum and got himself a job as Professor at the “Free Berlin University”. To sum up, what I have to say about the book and the man who wrote it, Wildung, he didn’t say anything in this book that serves any purpose at all. He said nothing but repeating what is know or has been said before; furthermore the Berlin Museum did not ask him, in his capacity as former Director of the old Museum, to submit a “write-Up” about the Nefertiti bust for the “Exhibit Catalog of the “Grand Opening of the New Museum, and “HE” didn’t dare offer one knowing he would be turned down. It’s enough that in his book he explains what the base of the bust is for, which is for the bust to stand on. Can a writer be that stupid to say what the base of a bust is for, except that it is for the bust to stand on (“the smoothly formed bottom side ~of the bust~ serves as surface on which it can stand”, see page 21). From page 25 “The left eye ~the eye that’s not inlaid~ demonstrates the technique of hollowing out, the first work step in the creation of the eye inlay and is further evidence of the bust’s function as a sculptor model”). In other words, instead of showing the students how to hollow an eye on a portrait of a commoner, the sculptor chose a portrait head of the Queen to show them an elementary lesson of how to hollow an eye, causing a laughing stock about the teacher and about the portrait head of Nefertiti being operated upon. Had Akhenaten and Nefertiti known about what the chief sculptor of the Royal workshop did, he would have been exiled or put t5o death, unless Tuthmose had done it behind their back and without their knowledge and permission. I don’t need to comment anymore on the book. All I need mention now is but say he was an insolent and despicable fool to ignore a request that had been made by H. H. Pope St. John Paul II, had turned innocent Egyptologists as his partners-in-crime to commit crimes on his behalf while he hid behind their back. I wish some admirers of ancient Egyptian works of art buy his book and see how this man has fooled the public and stained the reputation of the “World of Arts and Sciencis”. But let them not be sorry as this book is bound to become of collectors’ items to show future art lovers that there was at one time a charlatan who was able to control innocent Egyptologists and fool the public.
Amazing photographs
An elegant little paperback written by one who probably knows more about Nefertiti's famous bust than anyone else on earth. For this reason alone it is a fascinating read. The book is published in German, French, and English editions, all with Arabic translation as a last chapter (the arabesque script is a delight for the eyes even if one does not understand it).
Dietrich Wildung illustrates the discovery of the beautiful Queen at Amarna in 1912 with an early staged photograph and the relevant page from the dig diary, he gives a convincing German view of how the bust ended up in Berlin, and traces the journey of the Queen through two wars, and their aftermath, until she is given pride of place in the restored Neues Museum in present-day Berlin. The author insightfully observes Nefertiti's unique aesthetic and her elevation into an Egyptian icon. He accepts her discoverer's belief that the bust was a sculptor's model which never had an inlaid left eye. However this reviewer feels the bust was originally destined for some kind of prominence at Amarna, because it was found with a smashed matching painted-limestone bust of the King, which still has a few traces of gold leaf--too extravagant for a workshop model--and the beautiful Queen is meticulously painted on both front and back, even on the top of her crown. Perhaps she was about to receive her other eye and touches of gold when Akhenaten died.
Wildung gives an interesting version of the Amarna succession based in part on the DNA and text analysis of H. A. Schlogl's recent research (available only in German). Time will tell if it holds up. Wildung also has fascinating insights into the female aspects of Akhenaten's religious vision and reveals the astounding process of the bust's ancient manufacture. The little book is packed with wonderful surprises.
It might be of interest to some that this reviewer was invited by Dietrich Wildung, Director of the Egyptian Museum then in Charlottenburg, to a private showing of the collection. It was evident that the Director dearly loved the treasures which had been entrusted to his care. He told us that early that morning he had climbed up on a ladder to adjust the lighting on Nefertiti so that we could see the very subtle creases under her eyes. He left us alone with her. And I will never forget the unbelievable feeling of being face to face with this, the most famous, the most beautiful, Queen of Egypt. The more than three thousand years between us melted away. This thanks to the kindness of Dietrich Wildung.
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