Classical Antiquity

The Fayum Portraitists (50–250)

Romano-Egyptian Fayum Funerary Portraiture artists.

Portrait of the Boy Eutyches

The Fayum Portraitists are not one artist but an anonymous tradition of painters working in Roman Egypt, roughly 50–250 CE; the dates here bracket the practice, not a life. Their work is the oldest large body of portrait painting to survive from the ancient world. When a person died, a painted panel likeness — or sometimes a portrait painted directly onto the shroud — was set over the face of the mummified body and bound into the wrappings, fusing a Greek and Roman art of individual likeness to the age-old Egyptian ritual of preserving the dead for eternity. Most examples come from the Fayum oasis and nearby cemeteries such as er-Rubayat and Antinoopolis; the great modern collections were assembled after excavations including those of Flinders Petrie at Hawara in 1888.

Their medium was chiefly encaustic — pigment mixed into hot beeswax and worked onto a thin wooden panel with brush and a heated metal tool — though some are in tempera. Encaustic sets in seconds, so the modeling is built in decisive, loaded touches that still catch the light with a startling, buttery immediacy two thousand years later. The finest are astonishingly alive: a particular face, with its own asymmetries, its jewelry, its hairstyle datable to a Roman decade, gazing out with large, direct, often melancholy eyes.

Because the painters are unnamed, the tradition speaks entirely through the faces themselves. Their power is documentary and human at once — these are the earliest painted portraits in which we seem to meet specific ancient individuals eye to eye, made not for a gallery but to accompany the dead into the afterlife.

The words the record keeps using: direct, intimate, lifelike, solemn, arresting, melancholy.

At a glance

Works in the archive

What was said

Petrie's excavations at Hawara recovered painted panel portraits still bound into the mummy wrappings over the faces of the dead, establishing that the likenesses were made to be fixed to the mummified body in the Egyptian burial rite.

W. M. Flinders Petrie (archaeologist) — W. M. Flinders Petrie, Hawara, Biahmu, and Arsinoe (London: Field & Tuer, 1889)

Pliny describes encaustic painting — colors burned in with wax and applied with a heated tool — as an established ancient technique, the very method by which the Fayum panels were made.

Pliny the Elder — Pliny the Elder, Natural History, Book 35 (on encaustic painting and its methods)

Modern scholarship regards the Fayum panels as the oldest surviving body of portrait painting, prized for a naturalistic immediacy and directness of gaze that can seem startlingly modern.

Euphrosyne Doxiadis (art historian) — Euphrosyne Doxiadis, The Mysterious Fayum Portraits: Faces from Ancient Egypt (London: Thames & Hudson, 1995)

What would The Fayum Portraitists make of your idea?

The Artiquity Studio makes a new picture in this hand's manner from a few words or a photograph — grounded in the technique, palette and subjects recorded above, and always credited "after The Fayum Portraitists", never passed off as a found work. Open the Studio with The Fayum Portraitists · Keep a life moment the way The Fayum Portraitists would · Pictures made after The Fayum Portraitists

Open this page in Artiquity