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<font color="#333333"><b>Hatshepsut: From Queen to Pharaoh<br>
</b>
<a href="http://www.thinker.org/fam/press/press.asp?presskey=201"
eudora="autourl">
http://www.thinker.org/fam/press/press.asp?presskey=201<br>
<br>
</a>Contact Information<br>
Barbara Traisman<br>
<a href="mailto:***@famsf.org">***@famsf.org</a><br>
415.750.3620<br>
<br>
7/27/2005<br>
<br>
Major Exhibition Debuts at Opening of New de Young<br>
<br>
<b>de Young<br>
15 October 2005-5 February 2006<br>
<br>
</b>San Francisco, 27 July 2005--<i>Hatshepsut: From Queen to Pharaoh</i>
opens in San Francisco as the major inaugural exhibition at the new de
Young museum and as the premiere showing of this landmark exhibition,
which will be on view in only two additional venues: The Metropolitan
Museum of Art, New York, and the Kimbell Art Museum, Fort Worth. The
fascinating display highlights the art that was created during the
glorious reign of the enigmatic and intriguing female pharaoh
Hatshepsut,
who shared Egypt’s throne for nearly two decades (ca. 1473-1458 BC) in
the early New Kingdom as senior co-ruler with her young nephew,
Tuthmosis
III.<br>
<br>
Hatshepsut’s reign was a period of immense artistic creativity. This
unprecedented exhibition brings together a vast treasure trove of
almost
300 objects that includes royal statuary and relief, monumental
sculpture
representing members of the royal court, a wide variety of ceremonial
objects, finely crafted decorative objects, dazzling gold jewelry, and
other exquisite personal items, all of which both tell the compelling
story of Hatshepsut’s reign and reveal the diverse and sophisticated
artistic production of her time. <br>
<br>
<b>Lenders to the Exhibition<br>
</b>The spectacular objects that have been lent for <i>Hatshepsut:
From
Queen to Pharaoh</i> were culled from an august body of international
institutions by the exhibition’s organizers, Dr. Renée Dreyfus, Fine
Arts
Museums of San Francisco Curator of Ancient Art and Interpretation and
Dr. Catharine H. Roehrig of The Metropolitan Museum of Art, New York,
in
consultation with Dr. Cathleen A. Keller of the University of
California,
Berkeley.<br>
<br>
The lending institutions include--in addition to The Metropolitan
Museum
of Art, which has lent approximately one-third of the works on
view--The
British Museum, The National Museums of Scotland, the Louvre, the
Museum
of Fine Arts, Boston, the Brooklyn Museum of Art, The University of
Pennsylvania Museum of Archaeology & Anthropology, the Ägyptisches
Museum und Papyrussammlung Staatliche Museen zu Berlin, The Fitzwilliam
Museum, (Cambridge), the Kestner Museum (Hanover), the Field Museum
(Chicago), and the Museo Egizio, Torino. In addition, several signal
objects have been lent by the Egyptian Museum in Cairo. <br>
<br>
<b>Hatshepsut: Woman of Many Aspects<br>
</b>The phenomenon of a woman ruling a fundamentally patriarchal
society
while surrounded by male courtiers and advisors, the eventual
destruction
of Hatshepsut’s monuments by Tuthmosis III, and the omission of her
name
from later king lists have fueled debate among Egyptologists for over a
century. <i>Hatshepsut: From Queen to Pharaoh</i> presents the
changing
interpretations of the woman who, at about the age of 20, claimed the
full powers of the throne upon the death of her husband, Tuthmosis II,
who was also her half-brother, and gradually assumed the title of
“King”
and the trappings of kingship in addition to the queenly titles that
she
already held. <br>
<br>
Under an unusual line of succession, she and Tuthmosis III, who was the
son of Hatshepsut’s husband, but by a lesser queen, effectively shared
the throne of Egypt as two kings for a period of almost 20 years.
Hatshepsut’s metamorphosis from a queen into a king took place
gradually
and appears to have gone through a series of exploratory phases. Her
monuments depict her both as a woman and as a man, in king’s regalia,
including a strapped-on false beard. As Egypt’s two Horuses, Hatshepsut
and Tuthmosis III, 13 years her junior, frequently appeared together on
monuments as “twin” male rulers distinguished only by the position of
their cartouches--with Hatshepsut usually taking precedence--or
occasionally by their regalia. <br>
<br>
Although her reign defied long-established convention, it was accepted
by
her people and Egypt flourished, as seen through the superb and
innovative art and architecture of her prosperous and largely peaceful
rule. About 20 years after Hatshepsut’s death, however, her name and
her
image were systematically obliterated, her kingly monuments were
destroyed, and she was forgotten.<br>
<br>
<b>Highlights of the Exhibition<br>
</b>The exhibition is rich in standout objects ranging in scale from
monumental sculptures to delicate gold jewelry and finely detailed
scarabs, seals and figurines. Colossal sculptures in the main hall of
the
exhibition reveal the majesty of Hatshepsut as king. These include one
of
the six extant massive granite sphinxes depicting Hatshepsut as a lion,
a
colossal kneeling figure of Hatshepsut holding small offering jars, and
an enormous striding figure of her. There are also smaller stone
figures
of Hatshepsut as well as three large painted limestone reliefs from her
mortuary temple at Deir el-Bahri, which depict marching soldiers. In
addition, there are a number of stone figures of Senemut, one of the
most
eminent and influential officials of the Eighteenth Dynasty. Also of
particular interest is the granite <i>False-Door Stela</i> of
Tuthmosis
I, an object that was the ritual focus of his offering cult. A gallery
devoted to Tuthmosis III when he assumed sole reign after Hatshepsut’s
death displays sculpture that attests to the greatness he achieved
during
his long reign, such as a powerful, majestic nearly life-size standing
figure carved in greywacke. Among the many surviving statues of this
king, the one on view in the exhibition best conveys the impression of
a
personal likeness.<br>
<br>
Other stone objects of a smaller scale include varying sizes of
luminous,
alabaster vessels and unguent jars. Some of them are beautifully
inscribed, others have gold-rimmed bases and lids, and many of them
still
retain traces of their original contents. <br>
<br>
There are a number of remarkably well-preserved wooden decorative arts
and personal objects in the exhibition. Highlights of these pieces
include a royal wooden bed inlaid with cobras of sheet gold, a wood and
ivory--which was as highly prized as gold--chair, and small wooden
boxes
and a gaming board of wood and ivory, as well as a wood and silver
staff.
Among the leather objects are a painting of a woman playing a harp
while
a man enthusiastically dances, <br>
<br>
A wide array of personal items reflects the taste, luxury, and
craftsmanship of the times, such as a pair sandals made of gold, whose
design is startlingly contemporary. There is an abundance of dazzling
gold, silver, lapis, carnelian, cloisonné, and faience and
semi-precious
stone jewelry in the exhibition. A particularly magnificent necklace,
the
<i>Horus Collar,</i> is a hammered sheet of gold decorated with a
falcon-headed clasp. A glimpse of daily life as led by royalty in the
Eighteenth Dynasty is provided by intimate items such as cosmetic boxes
and spoons, bronze mirrors, tweezers and a razor, a wood, ivory, and
copper kohl tube, wooden hairpins, and gold finger and toe stalls,
which
were used for funerary trappings.<br>
<br>
Finally, other objects bespeak of everyday life of the Eighteenth
Dynasty. These include such items as colorful faience bowls, delightful
figure vases, ceremonial weapons, and model tools that were placed as
foundation deposits at Deir el-Bahri. <br>
<br>
<b>Organization and Credit<br>
</b>The exhibition has been organized by the Fine Arts Museums of San
Francisco and The Metropolitan Museum of Art, New York. The exhibition
is
supported by an indemnity from the Federal Council on the Arts and
Humanities, and by a generous grant from the National Endowment for the
Arts, a Federal agency.<br>
<br>
<b>Catalogue<br>
</b>The exhibition will be accompanied by a fully illustrated
catalogue,
published by The Metropolitan Museum of Art, with worldwide
distribution
through Yale University Press. Co-editors Dr. Renée Dreyfus, Fine Arts
Museums of San Francisco, Dr. Cathleen Keller, University of
California,
Berkeley, and Dr. Catharine Roehrig, The Metropolitan Museum of Art,
will
also provide substantial contributions to the publication, along with a
number of other top scholars in the field. 600 pages, 450 color
illustrations and 100 black and white illustrations and images;
hardcover
$75, paperback, $50 <br>
<br>
<b>Venues<br>
</b>de Young, San Francisco, 15 October 2005-5 February 2006<br>
The Metropolitan Museum of Art, New York, 21 March-9 July 2006<br>
Kimbell Art Museum, Fort Worth, 27 August-10 December 2006<br>
<br>
<b>Audio Tour for Adults and for Children<br>
</b><i>Hatshepsut: From Queen to Pharaoh</i> is accompanied by an
Antenna
Audio tour for both adults and children that explores the fascinating
stories behind many of the objects on view. The audio tour includes
commentary by exhibition co-curators Dr. Renée Dreyfus, Fine Arts
Museums’ Curator of Ancient Art and Interpretation, Dr. Catharine H.
Roehrig of The Metropolitan Museum of Art, as well as Professor
Cathleen
A. Keller of the University of California, Berkeley. It traces
Hatshepsut’s emergence as co-regent of Egypt and continues with
insights
into her rule, her predecessors, and the continuing mystery of her
exclusion from subsequent king lists in ancient Egypt. The tour
explores
the context and artistry of monumental statues of Hatshepsut and
others,
as well as many delicate, rare, and highly refined objects of daily and
ceremonial use, such as jewelry, toiletries, and furnishings, which
help
bring the era to life. A musical score interwoven into the audio tour
evokes the time and place, helping to provide visitors with an
immersive
experience.<br>
<br>
<b>Admission Fees and Ticket Information<br>
</b>There is a $5 surcharge for <i>Hatshepsut: From Queen to Pharaoh.</i>
Prices are $15 adults; $12 seniors; $11 youths ages 13-17; and children
ages 12 and under are free. Timed and dated tickets may be purchased in
advance. Complete ticketing information will be available on the Fine
Arts Museums website:
<a href="http://www.thinker.org/" eudora="autourl">www.thinker.org<br>
<br>
</a><b>About the new de Young<br>
</b>Founded in 1895 in San Francisco’s Golden Gate Park, the de Young
museum has been an integral part of the cultural fabric of the city and
a
cherished destination for millions of residents and visitors to the
region for over 100 years. On <b>October 15, 2005,</b> the de Young
museum will re-open in a new facility designed by the Swiss
architecture
firm Herzog & de Meuron and Fong & Chan Architects in San
Francisco. The new de Young will provide San Francisco with a landmark
art museum to showcase the museum’s significant collections of American
art from the 17th through the 20th centuries, modern and contemporary
art, art from Central and South America, the Pacific and Africa, as
well
as an important and diverse collection of textiles. <br>
<br>
The de Young and its sister museum, the Legion of Honor, together make
up
the Fine Arts Museums of San Francisco, the largest public arts
institution in the city and one of the largest art museums in the
United
States.<br>
<br>
Museum Hours: Tuesday – Sunday: 9:30 a.m.-5:15 p.m.; Friday: Open until
8:45 p.m. Admission Fees: Adults $10, Seniors $7, Youth 13-17 and
college
students with ID $6 Children 12 and under FREE; First Tuesday of Each
Month FREE; Muni visitor discount (with fast pass or transfer) $2
DISCOUNT<br>
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