(artist unknown, from the ancient Egyptian Middle Kingdom period). (1836 to 1818 bc). Head of Senusret III [yellow quartzite]. The Nelson-Atkins Museum of Art, Kansas City, Missouri.

This looks like a fragment, and in terms of arrangement is typical of Egyptian art in how perspectives are developed from the most representative view. For example, the ears seem to conform to a frontal view more than what optical reality would show. The expression on the figure’s face is not typical of Egyptian works. There is not a reference to the eternal, but to the specific present. | 

This is a rare work of realism from this culture. Documenting the likeness of Pharaoh Senusret III is clearly the most identifiable purpose behind it. Beyond that, communicating the troubles of his reign, and the somber nature of his character, are also well represented. While many works of ancient Egyptian rulers communicate a calm grasp on eternity, this one shows much more humanity. 

The sensitivity of the artist to create a strong likeness of the figure is, like all three-dimensional works, based on massing shapes in space. The work is (as currently presented) colorless, but an incidental tonal pattern when viewed from many (probably not all) perspectives is present. The Egyptians, of course, were concerned with profile and straight-on views. Balance is respected; it’s “true to life” development does not compete with the emotional content. 

Under display lighting conditions, forms are defined in such a way as to provide stark tonal planes and further highlight the somber mood. Deliberate lines are straight, parallel to each other, and used for both visual fidelity and texture development. As far as proportions are concerned, this work favors balance, in both the character of shapes (natural versus inorganic) and use of terminal values (tints and shades over midtones). 

It’s impossible to predict how the rest of this statue would’ve been rendered, but I think it’s safe to say that the body and limbs would’ve been presented in the typical straight-forward, “documentary” Egyptian style. With only the head available, either way I believe the face would be the focal point. The obvious reason is psychologically, humans recognize and gravitate towards the combination of figures that create the face. More importantly, the masterful way the figure’s emotional expression is rendered adds to this sense of gravity. 

Senusret III, as a specific ruler and man, I believe should be given pause and credit because he allows for the breaking from traditional Egyptian artistic formatting styles to allow more of who he truly is, and his doubts, to show through. If we think of a typical autocrat, such as Stalin, truth and reality are subordinate; they are building blocks to be manipulated to create the truth their broken minds have fabricated. In the case Senusret, works such as this one suggest his respect for dealing with reality, with the truth.