The Author Takes a Bow

A Self-Portrait in Assistenza in the Temple of Hatshepsut at Deir el-Bahari

Bibliographic Data

ID21974418
AuthorsAnastasiia Stupko-Lubczynska (0000-0003-3845-0085, University of Warsaw, corresponding author)
Year2024
Volume13
Issue5
Pages142
Publication date2024-09-20
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueArts (JOURNAL)
Journal identifiersISSN: 2076-0752 • E-ISSN: 2076-0752
PublisherMDPI AG (PUBLISHER • IT)
DOI10.3390/arts13050142
OpenAlexW4402677024
LanguageEN
Citations received1
References cited29

In art-historical terms, a self-portrait in assistenza refers to an artist having inserted their own likeness into a larger work. In Renaissance-era art, more than 90 examples have been identified, famously including Botticelli’s Adoration of the Magi (c. 1478/1483). There, Botticelli glances out from the painting, making direct eye contact with the viewer, a feature that appears in other self-portraits of the type. In ancient Egypt, it was not commonly accepted that an artist would lay claim to it, especially when the work’s scale imposed diversification of tasks to be performed or teamwork organized on a workshop basis. This article will present evidence discovered in the Chapel of Hatshepsut in her temple at Deir el-Bahari that can be interpreted as a self-portrait in assistenza and indicates that Djehuty, Overseer of the Treasury under Hatshepsut, took the lead role there. If this identification is valid, the room’s decoration gains an additional layer of meaning and may be “read” in terms of Djehuty’s message, comparable to Botticelli gazing out from his Adoration of the Magi. This ancient Egyptian case will illustrate how that artist-designer, in interweaving subtle indicators of his involvement in the work, expresses awareness both of his intellectual skills and of his pride in creation

Ancient history · Art · Art history · Portrait · Temple · Ancient Egypt and Archaeology · Archaeology and Historical Studies · History

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