Publicación: Images of Egypt in the Heart of the Western World: The Universal Exhibitions in London (1851) and Paris (1867)
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2020
Autores
Pérez Largacha, Antonio
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info:eu-repo/semantics/openAccess
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Ediciones Universidad de Salamanca
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Este trabajo pretende investigar las motivaciones del prominente papel del antiguo Egipto en la primera exposición universal de Londres (1851) y sobre todo en la posterior desarrollada en París (1867). El Crystal Palace de Londres albergó una interesante recreación de arquitectura egipcia y a la vez un conjunto de antigüedades procedentes del país del Nilo. Del mismo modo, Auguste Mariette diseñó un templo egipcio en la sede de la exposición de París de 1867, trasladando a la capital francesa la arquitectura faraónica de modo muy fiel. En ese contexto cultural se forjaron además proyectos como la estatua de Bartholdi para el canal de Suez (que inspiraría su posterior escultura colosal de la Estatua de la Libertad en Nueva York), o la escultura dedicada a Champollion. A través de las exposiciones universales decimonónicas la imagen del antiguo Egipto se hizo más veraz y exacta, aunque siguió estando impregnada de un halo de exotismo, que en cierto modo sigue presente en la actualidad en la egiptomanía, como huella de nuestra herencia cultural.
The current paper explores the reasons of the outstanding role of ancient Egypt in the first universal exhibition held in London (1851), and especially in the later one held in Paris (1867). The Crystal Palace in London housed an interesting replica of Egyptian architecture, as well as number of antiquities from the land of the Nile. In a similar fashion, Auguste Mariette designed an Egyptian temple in the exhibition venue in Paris (1867), transferring to the French capital the Pharaonic architecture in a true way. In this cultural realm many projects were conceived, such as the sculpture by Bartholdi for the Suez Canal (which inspired his colosal Statue of Liberty in New York), or his sculpture dedicated to Champollion. Through the universal exhibitions of the nineteenth century the image of ancient Egypt became more true and exact, although it maintained its exotic appeal, which somehow is still present in the Egyptomania, as a trace of our cultural legacy
The current paper explores the reasons of the outstanding role of ancient Egypt in the first universal exhibition held in London (1851), and especially in the later one held in Paris (1867). The Crystal Palace in London housed an interesting replica of Egyptian architecture, as well as number of antiquities from the land of the Nile. In a similar fashion, Auguste Mariette designed an Egyptian temple in the exhibition venue in Paris (1867), transferring to the French capital the Pharaonic architecture in a true way. In this cultural realm many projects were conceived, such as the sculpture by Bartholdi for the Suez Canal (which inspired his colosal Statue of Liberty in New York), or his sculpture dedicated to Champollion. Through the universal exhibitions of the nineteenth century the image of ancient Egypt became more true and exact, although it maintained its exotic appeal, which somehow is still present in the Egyptomania, as a trace of our cultural legacy
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Categorías UNESCO
Palabras clave
Egipto, exposición, universal, Europa, egiptomanía, Egypt, exhibition, universal, Europe, Egyptomania
Citación
Centro
Facultad de Geografía e Historia
Departamento
Historia del Arte