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Lot Essay
A rare image, not published in Egypte et Nubie (1858) and not recorded in the catalogue raisonné.
Teynard often photographed a single site using a combination of general views and details. He used this appraoch in exploring Abu Simbel and selected a sequence of twelve images for Egypte et Nubie (pls.146-57). The colossal statue of Ramses II, magnificently captured from the front in this image, was depicted in its entirety in the published sequence, first in profile (pl.154), then as a three-quarters view (pl.155). Rather than following it with this frontal view to complete a 90 degree rotation, Teynard cuts to a detail view of the lower part of the stautes (pl.156) and ends with a close-up view of the upper part of one colossus (pl.157).
It is difficult to understand why this striking image was omitted from the published sequence as it embodies Teynard's unqiue expressive style: the abstract patterns caused by light and shadow are remarkably conspicuous. These shadows -- these areas of void -- not only evoke a sense of wonder but also the passage of time. Throughout his journey, Teynard skillfully used the calotype process to reveal his own impressions of this ancient land. Comparing this image with the published images featuring the same colossus, the former stands out for its energy and monumental scale. Here in this image, taken at the end of his photographic journey, Teynard reaffirms himself as the great master of light and shadow.
Teynard often photographed a single site using a combination of general views and details. He used this appraoch in exploring Abu Simbel and selected a sequence of twelve images for Egypte et Nubie (pls.146-57). The colossal statue of Ramses II, magnificently captured from the front in this image, was depicted in its entirety in the published sequence, first in profile (pl.154), then as a three-quarters view (pl.155). Rather than following it with this frontal view to complete a 90 degree rotation, Teynard cuts to a detail view of the lower part of the stautes (pl.156) and ends with a close-up view of the upper part of one colossus (pl.157).
It is difficult to understand why this striking image was omitted from the published sequence as it embodies Teynard's unqiue expressive style: the abstract patterns caused by light and shadow are remarkably conspicuous. These shadows -- these areas of void -- not only evoke a sense of wonder but also the passage of time. Throughout his journey, Teynard skillfully used the calotype process to reveal his own impressions of this ancient land. Comparing this image with the published images featuring the same colossus, the former stands out for its energy and monumental scale. Here in this image, taken at the end of his photographic journey, Teynard reaffirms himself as the great master of light and shadow.