Sample Art Paper on Google Art Project

The museum located in New York City has the largest collection of Egyptian Art I have ever seen. There is the permanent collection of the works of art from Ancient Egypt in wing 40 of the Egyptian room. These include the Temple of Dendur, which is the most enduring attraction in the museum. This artwork is made of sandstone and partially surrounded by reflecting pool. The wall of window that opens to the Central part illuminates the temple. The temple is said to have been built around 15 B.C. by the successors of Cleopatra VII who was the last of the Ptolemaic rulers. It was dedicated to the goddess Isis and. The temple is a gift to the U.S. for assisting in preserving the Nubian tradition. The temple is of great value since it illustrates the religious and mythological concepts. Although the temple depicts that it was used, it seemed to have been incomplete by then. Unlike other Egyptian arts, the temple has minimum carvings, at the two rooms near the doorframes that lead to the sanctuary and the back wall of the sanctuary.

There is also the Deir el-Bahri, an art, which is a set of Archeulian flints, which dates from the Lower Paleolithic era. All these Egyptian arts hold artistic, historical, and cultural significance. There is the hair comb with decorated rows of wild animals. Through the comb, the viewer comes to identify with the users, who were mainly princesses and the period they existed. Other than its domestic significance, the comb gives a historical background of the kind of wild animals that lived during the Sit-hathor-yunet Dynasty. There is also a presentation of the invaluable collection of watercolor duplicates of the Theban tomb paintings. The Graphic Section team members probably produced these in 1937. Other art collections include a set of the Middle Kingdom wooden models from the tomb of Meketre, the royal portrait sculpture of dynasty, and statuary of a female pharaoh Hatshepsut. These holdings depict religious beliefs, history, and the daily life of the early Egyptians. Due to the age of the temple, it has been painted using projected light.

 A virtual museum is an interactive virtual space, which offers information and illustrates cultural arts in a digital layout (Moreno). Depending on the form of cultural objects depicted, these museums vary in their level of virtuality. In the art historical education, a virtual museum is of great importance. Since some of these museums do not exist in the physical world, they assist in preserving different traditions, which would otherwise be forgotten. Study of different collections and identifying them ascertain their prestige and legitimacy (Moreno).

 In addition, the museums play the role of defining social identities, since they are instruments of social differentiation (Moreno). The museums display and make accessible substantial number of artworks and information to the universal public than the public real museums. They are also accessible anytime and from any place. Since they display digital reproductions, visitors can access digital copies of masterpieces that belong to varied collections, which may be missing from the public museums due to their fragility. Moreover, the museums allow viewers to choose the kind of information required according to their level.

Virtual museums are an exhibition and public places even though they lack the physical presence. The value of the virtual museum is based on its role of providing visual and written information regarding art.

Even though the virtual museums modify the large extent of the main functions of the museum, a majority of the virtual museums focus on constructions and dissemination of the national and regional marks. These museums contrast heavily with the real museums since they lack conservation role in the physical sense due to their nature. Consequently, the virtual museum can only be applied to supplement an art historical class.

Work Cited

Moreno, Maria J. “Art Museums and the Internet: The Emergence of the Virtual Museum.”

EJournal of Art and Technology. 2016. Available at: http://crossings.tcd.ie/issues/5.1/Moreno/. Accessed on March 22nd 2017.