(artist unknown, Giza). (c.2500 bc). Pharaoh Menkaura and a Queen [graywacke sandstone]. Museum of Fine Arts, Boston/Harvard University-MFA Expedition.

The couple are given the timeless expression specific to ancient Egyptian art. A simplified, well-proportioned likeness of both figures is rendered with respectable realism. With the exception of the individual faces, forms are abstracted to a high degree. For example, the female figure’s hair is a solid mass. The traits inherent to the gender of both figures (virility and fertility) are emphasized. The medium (graywacke) looks particularly difficult to work with. It’s resistance is consistent with the general tone of this culture’s creations. | 
Idealistic realism applies to this statue combination. The features of the individuals are quite specific, but the planes and forms of both are considerably simplified in the manner common of Egyptian works. This statue shares qualities with naturalism and semi-abstraction. On an “overview” level, it serves a primary purpose above documenting a portrait of both figures. It presents the Pharaoh as calm and bold, leading with a foot forward, carrying the countenance expected of the physical manifestation of the Sun-god. He is lovingly supported by one of his queens, who follows in an abbreviated pace. 
The native characteristics of this work’s medium (graywacke) cause the masses to take on a dense, substantial tone. This reduces the realism of the clothing somewhat, but supports the mood of strength the Pharaoh carries because of the hardness it lends to his flesh. Overall, it seems refined and polished beyond the stone’s natural state. It is characterized by balance: It is approximately horizontally symmetrical with slight differences in energy and size. The differences between masculine dominance and feminine support also take on a balanced tone, instead of acting as forces in opposition, which complements the portrait-nature of this work. 
A subtle version of Egyptian hieratic scale is evident in the longer pace and slightly larger size of the male figure. Likely due to the medium, lines are used to define shapes of things like clothing and certain flesh edges. Shape edges are objective, well-defined and carry the same idealistically figurative formatting. The approaching stance of the Pharaoh and his peaceful expression gather much of the observer’s attention. The subtle differences in the disposition of the Queen are nearly equal in the amount of effort she gains. 
It is clear that the leader of the nation-state took both comfort and personal strength from the support his Queen provided him. Their nearly-equal sizes, and equal development, shows a balanced distribution of credit and respect for both figures in a way that is not common to this culture. It hints at the emotional sensitivity of its political leaders in a culture that limited visual expression to less than a handful of patrons.