{"id":40891,"date":"2018-06-11T09:12:18","date_gmt":"2018-06-11T09:12:18","guid":{"rendered":"https:\/\/www.emeryetcie.com\/catalog\/wallpapers\/digital-prints\/description-de-legypte-1\/"},"modified":"2025-10-14T18:44:48","modified_gmt":"2025-10-14T16:44:48","slug":"description-de-legypte-1","status":"publish","type":"page","link":"https:\/\/www.emeryetcie.com\/en\/catalog\/wallpapers\/digital-prints\/description-de-legypte-1\/","title":{"rendered":"“Description de l’Egypte 1”"},"content":{"rendered":"

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Each of the fifteen paintings from which these digital prints will be published depicts a facade with a door.<\/p>\n

They have a name that is an imaginary address, “19 rue du Nil Vert in Luxor” for the first, published in June 2018.<\/p>\n

They all have a story, in this case, that of a return from a trip to Egypt, and above all, the memory of working on wash copies from the original editions of books on the Napoleonic campaign in Egypt in the library of the Royal Academy of Fine Arts in Brussels. I began my architectural studies at a time when this teaching was still governed by the “Fine Arts system,” imposing copies of Antiquity and meticulous drawings in Indian ink on paper. While, with my active participation and to my great relief, May 1968 very quickly shattered this rigid framework, in hindsight I know how deeply this culture influenced my imagination. So, I found that the least polite thing to do was to remind people of what I owe to the “Fine Arts system” by referring to the mysterious and fertile epic of the discovery of Ancient Egypt.<\/p>\n

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\u20ac180.00<\/span>\/m\u00b2 incl. VAT<\/p>\n

Marouflaged version (glued to linen) + \u20ac120.00\/m\u00b2<\/p>\n

We study the feasibility of any custom application project and provide a quote.<\/p>\n

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Furniture, another development from digital prints: see the dedicated chapter.
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 <\/p>\n","protected":false},"excerpt":{"rendered":"

Each of the fifteen paintings from which these digital prints will be published depicts a facade with a door. 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