References of "Laboury, Dimitri"
     in
Bookmark and Share    
Peer Reviewed
See detailIn search of the painters of the Theban necropolis in the 18th dynasty. Prolegomena to an analysis of painterly practices in the tomb of Amenemope (TT29)
Laboury, Dimitri ULg; Tavier, Hugues

in Angenot, Valérie; Tiradritti, Francesco (Eds.) Artists and Painting in Ancient Egypt (in press)

Detailed reference viewed: 68 (3 ULg)
Peer Reviewed
See detailRéflexions sur la datation du cycle des « Femmes vertueuses ». De l’utilisation des sources antiques par les peintres antiquisants des Temps Modernes
Laboury, Dimitri ULg; Huby, Caroline

in Allart, Dominique; Bert, Mathilde; Gilles, Isabelle (Eds.) Liège au XVIe siècle. Art et culture autour de L.Lombard (in press)

Detailed reference viewed: 21 (3 ULg)
Peer Reviewed
See detailDe l’intérêt de Lambert Lombard pour les aegyptiaca
Laboury, Dimitri ULg

in Allart, Dominique; Bert, Mathilde; Gilles, Isabelle (Eds.) Liège au XVIe siècle. Art et culture autour de L.Lombard (in press)

Envisagée sous l’angle de l’égyptologie, et, plus précisément, sous celui de ce qu’il est aujourd’hui convenu d’appeler l’Ägyptenrezeption, l’œuvre attribuée à Lambert Lombard étonne tant elle apparaît ... [more ▼]

Envisagée sous l’angle de l’égyptologie, et, plus précisément, sous celui de ce qu’il est aujourd’hui convenu d’appeler l’Ägyptenrezeption, l’œuvre attribuée à Lambert Lombard étonne tant elle apparaît véritablement constellée de références à l’Égypte antique, ou plus exactement à l’image que l’on se faisait au XVIe siècle de la civilisation des lointains pharaons. Dans l’état actuel de notre connaissance, cette présence de « la matière égyptienne » (suivant l’expression de l’égyptologue français Serge Sauneron) dans les productions de l’artiste liégeois semble pouvoir se décliner sous quatre formes, qui nous renseignent, à divers titres, sur la représentation que Lambert Lombard pouvait avoir de l’Égypte antique et, surtout, sur la perspective dans laquelle il a développé ces références et cet intérêt manifeste pour la culture pharaonique. [less ▲]

Detailed reference viewed: 34 (3 ULg)
Full Text
Peer Reviewed
See detailLe scribe et le peintre. À propos d'un scribe qui ne voulait pas être pris pour un peintre
Laboury, Dimitri ULg

in Collombert, Philippe; Lefèvre, Dominique; Polis, Stéphane (Eds.) et al Aere perennius. Mélanges égyptologiques en l'honneur de Pascal Vernus (2016)

Using the famous signature of the scribe Merira in the tomb of the High priest of Nekhbet Setau at Elkab (T. Elkab 4) as a starting point, the article aims at reassessing the status of artists, and more ... [more ▼]

Using the famous signature of the scribe Merira in the tomb of the High priest of Nekhbet Setau at Elkab (T. Elkab 4) as a starting point, the article aims at reassessing the status of artists, and more specifically of painters, in Ancient Egyptian social representation as well as in the discourse of pharaonic scribes [less ▲]

Detailed reference viewed: 97 (6 ULg)
Peer Reviewed
See detailOne hand – many faces. Painterly practices in the Theban Tomb of vizier Amenemope (TT 29)
Laboury, Dimitri ULg; Pieke, Gabriele

Conference (2015, August 28)

Since 1999, the Belgian Archaeological Expedition in the Theban (Mission archéologique dans la Nécropole thébaine - MANT) is executing fieldwork in several tombs located in the southern part of Sheikh ... [more ▼]

Since 1999, the Belgian Archaeological Expedition in the Theban (Mission archéologique dans la Nécropole thébaine - MANT) is executing fieldwork in several tombs located in the southern part of Sheikh Abdel Gurna. As part of this fieldwork, the project “Painters and painting in the Theban Necropolis under the 18th Dynasty“ (FNRS – Univeristy of Liège) aims at studying painterly practices and working procedures of artists and workshops in charge of the decoration of elite tombs in this cemetery. The paper will present the results of recent work carried out in this context in the tomb of Amenemope (TT 29), vizier under Amenhotep II. Unlike in many other Theban tombs of the 18th dynasty where different painters are attested, evidence points to a single hand, responsible for the execution of the entire wall paintings preserved in this funerary chapel. Nevertheless the style of human figures or hieroglyphs is not completely consistent but to the contrary shows certain variability in the layout and execution of motifs, that the paper will address as an issue. [less ▲]

Detailed reference viewed: 46 (2 ULg)
Peer Reviewed
See detailTradition and Creativity. Toward a Study of Intericonicity in Ancient Egyptian Art
Laboury, Dimitri ULg

Conference (2015, August 27)

Although a key-concept in Art historical discourse and reasoning, creativity has almost always been avoided as an issue in the discussion of Ancient Egyptian Art, as if the notion was simply irrelevant in ... [more ▼]

Although a key-concept in Art historical discourse and reasoning, creativity has almost always been avoided as an issue in the discussion of Ancient Egyptian Art, as if the notion was simply irrelevant in such a context. This surprising phenomenon has clearly deep roots in the history of the western vision of Ancient Egyptian Art (and civilization). Nonetheless, the investigation of some (actually quite rare) cases of true copies in Ancient Egyptian Art reveals that creativity operated within a process of reinterpretation of previous works and their tradition, a process that can be best analyzed, it seems, with the help of the conceptual frame of intericonicity (or interpictoriality). The paper will also aim to defend the use of this notional tool in the analysis of Ancient Egyptian Art by attempting to define how creativity was conceptualized in Ancient Egyptian textual claims for innovation and originality. [less ▲]

Detailed reference viewed: 71 (1 ULg)
Full Text
Peer Reviewed
See detailOn the master painter of the tomb of Amenhotep Sise, second High Priest of Amun under the reign of Thutmose IV (TT 75)
Laboury, Dimitri ULg

in Jasnow, Richard; Cooney, Kathlyn M. (Eds.) Joyful in Thebes. Egyptological Studies in Honor of Betsy M. Bryan (2015)

The tomb of the second High Priest of Amun under the reign of Thutmose IV, Amenhotep Sise (TT 75), is one of the few Theban tombs that can be nominally ascribed to its artistic author, the "painter of ... [more ▼]

The tomb of the second High Priest of Amun under the reign of Thutmose IV, Amenhotep Sise (TT 75), is one of the few Theban tombs that can be nominally ascribed to its artistic author, the "painter of Amun Userhat", who signed his work through a double self-portrait in assistenza. The study of the painted decoration of the tomb leads to the conclusion that this painter was deeply involved in the royal projects of his time in Karnak and even might have been one of the designers of the decorative programme of the Festival Courtyard of Thutmose IV, and, as such, was hired by his chief in the administration of the estate of Amun in Thebes, the Second High Priest of Amun, Amenhotep Sise, to work in his own private funerary monument. [less ▲]

Detailed reference viewed: 183 (24 ULg)
Full Text
Peer Reviewed
See detailHow and why did Hatshepsut invent the image of her royal power?
Laboury, Dimitri ULg

in Galan, José Manuel; Bryan, Betsy M.; Dorman, Peter F. (Eds.) Creativity and Innovation in the Reign of Hatshepsut (2014)

Detailed reference viewed: 198 (3 ULg)
Full Text
See detailDe l'individualité de l'artiste dans l'art égyptien
Laboury, Dimitri ULg

in Andreu, Guillemette (Ed.) L'art du contour. Le dessin dans l'Égypte ancienne (2013)

Detailed reference viewed: 122 (20 ULg)
Full Text
See detailL'artiste égyptien, ce grand méconnu de l'Égyptologie
Laboury, Dimitri ULg

in Andreu, Guillemette (Ed.) L'art du contour. Le dessin dans l'Égypte ancienne (2013)

Detailed reference viewed: 166 (20 ULg)
Full Text
Peer Reviewed
See detailCitations et usages de l'art du Moyen Empire à l'époque thoutmoside
Laboury, Dimitri ULg

in Bickel, Susanne (Ed.) Vergangenheit und Zukunft. Studien zum historischen Bewusstsein in der Thutmosidenzeit (2013)

The article aims at characterizing forms and functions of the uses of Middle Kingdom art in royal and court productions during the Thutmosid Period. In order to assess this artistic phenomenon as a ... [more ▼]

The article aims at characterizing forms and functions of the uses of Middle Kingdom art in royal and court productions during the Thutmosid Period. In order to assess this artistic phenomenon as a conscious revival and not just a survival of the Past and of the tradition, the analysis starts with a brief examination of the disruption that was felt and expressed during the Second Intermediate Period. It then goes on investigating the evolution of the references to Middle Kingdom art from the dawn of the 18th Dynasty to the time of Hatshepsut and Thutmosis III, when some sorts of artistic quotations replaced a global renaissance of Middle Kingdom forms of expression. A special attention is paid to the relationship between creativity and archaism under the reign of Hatshepsut, and leads to conclude the article with some theoretical deductions on the study of Ancient Egyptian archaism and a tentative definition of how innovation was conceptualized in Ancient Egyptian culture. [less ▲]

Detailed reference viewed: 65 (1 ULg)
See detailL'Égypte pharaonique est la plus ancienne des civilisations
Laboury, Dimitri ULg

in Larmoyer, Sophie (Ed.) Le Tour du Monde en 100 idées reçues (2012)

Detailed reference viewed: 17 (0 ULg)
See detailL'expédition de Bonaparte est à l'origine de la redécouverte de l'Égypte antique
Laboury, Dimitri ULg

in Vermeren, Pierre (Ed.) Idées Reçues sur le Monde arabe (2012)

Detailed reference viewed: 19 (3 ULg)
See detailLes momies ont des pouvoirs surnaturels
Laboury, Dimitri ULg

in Larmoyer, Sophie (Ed.) Le Tour du Monde en 100 idées reçues (2012)

Detailed reference viewed: 19 (1 ULg)
Full Text
Peer Reviewed
See detailIn de entourage van de Farao. Kunst en archeologie in de Thebaanse necropool
Bavay, Laurent; Laboury, Dimitri ULg

in Ceci n’est pas une pyramide… Un siècle de recherche archéologique belge en Égypte (2012)

The Theban necropolis, opposite the modern city of Luxor, has been Egypt’s most important burial place during the New Kingdom (ca. 1550-1050 BC). Since 1999, the Université libre de Bruxelles undertakes a ... [more ▼]

The Theban necropolis, opposite the modern city of Luxor, has been Egypt’s most important burial place during the New Kingdom (ca. 1550-1050 BC). Since 1999, the Université libre de Bruxelles undertakes a long-term, interdisciplinary study of a large area in the southern part of the Sheikh Abd el-Qurna hill, densely occupied during the mid-18th dynasty. Initially focusing on two monuments dating to the reign of Amenhotep II, the tombs of the Prince of the City Sennefer (TT 96) and the vizier Amenemope (TT 29), the project led to the discovery, in 2009, of a « lost tomb » belonging to the deputy of the director of the treasury Amenhotep (TT C3). Beside the reconstruction of the history of these monuments from their construction to the present day, notably revealing an important occupation by Coptic hermits during the 8th cent. AD, the archaeological study also considers their place in the topographical, religious and social landscape of the necropolis. The study of the painted decoration of the chapels is likewise considered in the wider context of Theban painting practices and workshops, leading to the development of an original methodology termed « on site art history ». Among these activities, the conservation of the wall paintings remains a priority of the mission and the team of international specialists conducted extensive research to address the problems caused by their challenging state of preservation. The project is supported by the Belgian Fund for Scientific Research (F.R.S.-FNRS) and the Ministry of Scientific Research of the Fédération Wallonie-Bruxelles. Since 2010, it is conducted as a joint mission of the Université libre de Bruxelles and the Université de Liège. [less ▲]

Detailed reference viewed: 37 (1 ULg)
Full Text
Peer Reviewed
See detailTracking Ancient Egyptian Artists, a Problem of Methodology. The Case of the Painters of Private Tombs in the Theban Necropolis during the Eighteenth Dynasty
Laboury, Dimitri ULg

in Kothay, Katalin Anna (Ed.) Art and Society. Ancient and Modern Contexts of Egyptian Art. Proceedings of the International Conference held at the Museum of Fine Arts, Budapest, 13-15 May 2010 (2012)

The figure of the Ancient Egyptian artist has often been considered particularly evanescent and almost imperceptible – if not non-existent for some scholars. Dealing with the case of the painters ... [more ▼]

The figure of the Ancient Egyptian artist has often been considered particularly evanescent and almost imperceptible – if not non-existent for some scholars. Dealing with the case of the painters responsible for the decoration of private tomb chapels in the Theban Necropolis during the 18th dynasty, this article aims at demonstrating that with a proper and adapted interdisciplinary methodology, gathering all kinds of documents relating to the subject, it is indeed possible to address the issue of the societal identity of those painters as well as that of their work organisation and work modalities, and even their own individualities. In this context, the article concludes with a reassessment of the criteria used to define an artist. [less ▲]

Detailed reference viewed: 149 (11 ULg)
Full Text
Peer Reviewed
See detailDans l’entourage de Pharaon. Art et archéologie dans la nécropole thébaine
Bavay, Laurent; Laboury, Dimitri ULg

in Ceci n’est pas une pyramide… Un siècle de recherche archéologique belge en Égypte (2012)

The Theban necropolis, opposite the modern city of Luxor, has been Egypt’s most important burial place during the New Kingdom (ca. 1550-1050 BC). Since 1999, the Université libre de Bruxelles undertakes a ... [more ▼]

The Theban necropolis, opposite the modern city of Luxor, has been Egypt’s most important burial place during the New Kingdom (ca. 1550-1050 BC). Since 1999, the Université libre de Bruxelles undertakes a long-term, interdisciplinary study of a large area in the southern part of the Sheikh Abd el-Qurna hill, densely occupied during the mid-18th dynasty. Initially focusing on two monuments dating to the reign of Amenhotep II, the tombs of the Prince of the City Sennefer (TT 96) and the vizier Amenemope (TT 29), the project led to the discovery, in 2009, of a « lost tomb » belonging to the deputy of the director of the treasury Amenhotep (TT C3). Beside the reconstruction of the history of these monuments from their construction to the present day, notably revealing an important occupation by Coptic hermits during the 8th cent. AD, the archaeological study also considers their place in the topographical, religious and social landscape of the necropolis. The study of the painted decoration of the chapels is likewise considered in the wider context of Theban painting practices and workshops, leading to the development of an original methodology termed « on site art history ». Among these activities, the conservation of the wall paintings remains a priority of the mission and the team of international specialists conducted extensive research to address the problems caused by their challenging state of preservation. The project is supported by the Belgian Fund for Scientific Research (F.R.S.-FNRS) and the Ministry of Scientific Research of the Fédération Wallonie-Bruxelles. Since 2010, it is conducted as a joint mission of the Université libre de Bruxelles and the Université de Liège. [less ▲]

Detailed reference viewed: 149 (9 ULg)
Full Text
See detailAkhenaton. El primer faraón monoteísta de la historia
Laboury, Dimitri ULg

Book published by La Esfera de los Libros (2012)

Amenhotep IV, ninth Pharaoh of the 18th Dynasty (ca 1352 - 1335 B.C.), who changed his name into Akhenaten, is probably the most debated figure of Ancient Egyptian History. Known as the first founder of a ... [more ▼]

Amenhotep IV, ninth Pharaoh of the 18th Dynasty (ca 1352 - 1335 B.C.), who changed his name into Akhenaten, is probably the most debated figure of Ancient Egyptian History. Known as the first founder of a monotheistic religion in the history of mankind, he holds an exceptional position in modern collective memories about Ancient Egypt, despite the fact that he was rejected into oblivion by his direct successors. His modern fame is fundamentally due to the reappropriation of his character by various and incredibly numerous occidental or contemporary ideologies. In this context of highly culturo-centric reinterpretation, it is often very difficult, for the layman or the laywoman as well as for the scholar, to comprehend the king who actually ruled Egypt in the middle of the 14th century B.C. The book attempts to address this issue by proposing an archaeological biography of Akhenaton, i.e. a description of the historical facts of his reign that are physically - or archaeologically - attested, with the constant aim of distinguishing these facts from their interpretations. Such an approach allows the reader to understand how egyptological knowledge is constructed. The book is structured according to the different phases of the actual life of Akhenaten: after a necessary appraisal of his modern rediscovery and reinterpretations, a chapter is respectively devoted to his childhood and the Egyptian Empire in which he grew up, to the first years of his reign, to the invention of real Atenism, in year 4, to the king’s project when he moved his capital to Akhet-Aten - Amarna, in Middle Egypt, and, at last, to his post-mortem survival, in the reactions of his successors and followers. The book ends with some conclusions about the epistemological capabilities of archaeological biography and about the particularity of Akhenaten and his Atenist ideology. [less ▲]

Detailed reference viewed: 400 (10 ULg)
Full Text
Peer Reviewed
See detailAmarna Art
Laboury, Dimitri ULg

in Cooney, Kara; Wendrich, Willeke (Eds.) UCLA Encyclopedia of Egyptology (2011)

The art that developed in the reign of Amenhotep IV/Akhenaten, known as “Amarna art,” has largely been considered revolutionary in the history of ancient Egyptian art. As such, it has been the subject of ... [more ▼]

The art that developed in the reign of Amenhotep IV/Akhenaten, known as “Amarna art,” has largely been considered revolutionary in the history of ancient Egyptian art. As such, it has been the subject of much debate and has generated numerous theories, often contradictory or controversial, and, in fact, deeply influenced by the history of its modern reception. Nevertheless, the remaining evidence still permits us to investigate Amenhotep IV/Akhenaten’s conception of images and art, as well as the artistic evolution under his reign. From a hermeneutic point of view, Amarna art can be interpreted as a multi-causal phenomenon, involving an internal evolution of 18th Dynasty society and art, pharaoh-centrism, and purely aesthetic factors. [less ▲]

Detailed reference viewed: 276 (7 ULg)
Full Text
Peer Reviewed
See detailPortrait versus Ideal Image
Laboury, Dimitri ULg

in Wendrich, Willeke (Ed.) UCLA Encyclopedia of Egyptology (2010)

Ancient Egyptian art’s concern with individualized human representation has generated much debate among Egyptologists about the very existence of portraiture in Pharaonic society. The issue has often—if ... [more ▼]

Ancient Egyptian art’s concern with individualized human representation has generated much debate among Egyptologists about the very existence of portraiture in Pharaonic society. The issue has often—if not always—been thought of in terms of opposition between portrait and ideal image, being a major topic in the broader question of realism and formal relation to reality in ancient Egyptian art. After a brief analysis of the problem from a theoretical point of view, the article deals with the Egyptological reception of the subject and considers the concepts involved in the notion of portrait within the context of ancient Egyptian thought. A few significant cases selected from the corpus of royal statuary are then investigated in order to elucidate the motives and modalities of the interaction between portrait and ideal image in ancient Egyptian individualized representations. [less ▲]

Detailed reference viewed: 149 (5 ULg)