![Pedro Friedeberg, Mano de Akhenatón, 1963/2015](https://artlogic-res.cloudinary.com/w_1600,h_1600,c_limit,f_auto,fl_lossy,q_auto/artlogicstorage/ruizhealyart/images/view/689c318ac7efd1c1939602610f98ba14/ruiz-healyart-pedro-friedeberg-mano-de-akhenat-n-1963-2015.jpg)
![Pedro Friedeberg, Mano de Akhenatón, 1963/2015](https://artlogic-res.cloudinary.com/w_1600,h_1600,c_limit,f_auto,fl_lossy,q_auto/artlogicstorage/ruizhealyart/images/view/3929b40a13922a6dec1ce3001d28ad28p/ruiz-healyart-pedro-friedeberg-mano-de-akhenat-n-1963-2015.png)
Pedro Friedeberg Mexican, b. 1936
Mano de Akhenatón, 1963/2015
Mahogany wood and gold leaf
37.5 x 20.5 x 20.5 in
95 x 52 x 52 cm
95 x 52 x 52 cm
The title of the piece translates to 'Akhenaten's Hand,' the ancient Egyptian pharaoh who introduced a monotheist religion revolving around the god Aton, as opposed to the traditional polytheism. Akhenaten's...
The title of the piece translates to "Akhenaten's Hand," the ancient Egyptian pharaoh who introduced a monotheist religion revolving around the god Aton, as opposed to the traditional polytheism. Akhenaten's reign is visually distinguished from former and latter periods due to its divergence from classical Egyptian iconography.
Often referred to as Surrealist, this hand-shaped chair is one of the artist's best-known bodies of work. As with his architectural drawings, Friedeberg tends to reject and oppose modern designs or what is commonly accepted as good taste. With its conical base and shiny finish, the chair rejects the works of his contemporary furniture designers, as Akhenaten's artists did during his regime. Friedeberg introduced the hand as a recurrent theme in several of his later work.
Often referred to as Surrealist, this hand-shaped chair is one of the artist's best-known bodies of work. As with his architectural drawings, Friedeberg tends to reject and oppose modern designs or what is commonly accepted as good taste. With its conical base and shiny finish, the chair rejects the works of his contemporary furniture designers, as Akhenaten's artists did during his regime. Friedeberg introduced the hand as a recurrent theme in several of his later work.
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