- Identification and Creation
- Object Number
- Mummy Portrait of a Woman with Earrings
- Work Type
- c. 130-140 CE
- Creation Place: Ancient & Byzantine World, Africa, Antinoopolis (Egypt)
- Roman Imperial period, Middle
Level 3, Room 3740, Ancient Mediterranean and Near Eastern Art, Ancient Egypt: Art for Eternity
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- Physical Descriptions
- Encaustic on linden wood
- 35.3 cm h x 22.5 cm w x 2 cm d (13 7/8 x 8 7/8 x 13/16 in.)
- Denman Waldo Ross, Cambridge, MA, (by 1923), gift; to Fogg Art Museum, 1923.
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Arthur M. Sackler Museum, Gift of Dr. Denman W. Ross
- Accession Year
- Object Number
- Asian and Mediterranean Art
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- This highly naturalistic mummy portrait depicts a young woman with deep brown eyes, arched brows, and a long pointed nose. Her dark hair is pulled back with only a row of small curls framing her forehead. Her jewelry is simple: small gold double-hooped earrings, each with a pendant pearl. She wears a deep purple tunic with green shoulder bands and maroon clasps all over a white undergarment, visible only at the neckline.
- Wooden panel portraits such as this would have been set into mummy wrappings, covering the face of the deceased. The images may or may not have been painted before the sitter's death and were often idealized representations. The shape of this portrait, which is trimmed to follow the contour of the head and shoulders, is consistent with panels that come from Antinoopolis, a city founded by the Emperor Hadrian .
1. For similar panel shape and hairstyle see Louvre inv. P 217. (Zaloscer, fig. 25).
- Publication History
Four Fayum Portraits in the Fogg Art Museum, Bulletin of the Fogg Art Museum (1924), II.1
George M. A. Hanfmann, Roman Art: A Modern Survey of the Art of Imperial Rome, New York Graphi Society (Greenwich CT, New York and London, 1964), pg. 306, pl. 46
David Thompson, Mummy Portraits in the J. Paul Getty Museum, J. Paul Getty Museum (Malibu, CA, 1982), p. 5, fig. 6
Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums/Abbeville Press (Cambridge and New York, 1986), p. 116, no. 130, ill.
Marvin Perry, Western Civilization: Ideas, Politics & Society, Houghton Mifflin Company (Boston, MA, 1989), p. 135, ill.
Euphrosyne Doxiadis, The Mysterious Fayum Portraits: Faces from Middle Egypt, Harry N. Abrams, Inc. (New York, NY, 1995), p.113, fig 85
James Cuno, Alvin L. Clark, Jr., Ivan Gaskell, and William W. Robinson, Harvard's Art Museums: 100 Years of Collecting, ed. James Cuno, Harvard University Art Museums/Harry N. Abrams, Inc. (Cambridge, 1996), p. 116-117, ill.
Rui Nakamura, "The Technique and Use of Encaustic in Ancient Roman Paintings : An Examination of One Example in the Fogg Museum with Reference to Pliny's Natural History" (2003), p. 409 - 418 (figs. 1a, 1b)
Ioli Kalavrezou, Byzantine Women and Their World, exh. cat., Harvard University Art Museums (Cambridge, MA, 2003), p. 240, no. 133, fig. 133.
Rui Nakamura, The Technique and Expression of Encaustic in Ancient Portrait Paintings: An Examination of One Example in the Fogg Museum with Reference to Pliny's Natural History, Kashima Bijutsu Kenkyu, 20, 409-418, 2003, p. 418, ill.
Thorsten Opper, Hadrian: Empire and Conflict, exh. cat., British Museum Press (London, 2008), fig. 182
Stephan Wolohojian, ed., Harvard Art Museum/Handbook (Cambridge, Massachusetts, 2008)
- Exhibition History
Roman Gallery Installation (long-term), Harvard University Art Museums, Cambridge, 09/16/1999 - 01/20/2008
Byzantine Women and Their World, Harvard University Art Museums, Cambridge, 10/25/2002 - 04/28/2003
Gods in Color: Painted Sculpture of Classical Antiquity, Harvard University Art Museums, Cambridge, 09/22/2007 - 01/20/2008
Roman Emperor Hadrian, British Museum, London, 07/24/2008 - 10/26/2008
Ancient to Modern, Harvard Art Museums, Cambridge, 01/31/2012 - 06/01/2013
32Q: 3740 Egyptian, Harvard Art Museums, Cambridge, 11/01/2014
- Subjects and Contexts
Google Art Project
- Related Works
This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at email@example.com