Simon Connor was awarded his PhD in art history and archaeology by the Université libre de Bruxelles, Belgium, in 2014. He has worked on various archaeological sites in Egypt, including Luxor, Dahshur, Tanis, and Heliopolis. He was a curator at the Museo Egizio, Turin (2014-2017), an Andrew W. Mellon Research Fellow at the Metropolitan Museum of Art (2017–2018), and an FNRS Research Fellow at the University of Liège (2018–2021). He is the author of various articles and books, including Le statue del Museo Egizio (2016) and Être et paraître (2020).
Simon Connor has brilliantly synthesized his recent scholarship on Egyptian statues to produce a masterpiece. Connor looks carefully at the evidence of the statues themselves, especially the kinds of alterations they suffered over the entirety of their existence. He offers lucid and jargon-free interpretations of what he sees. Both experienced scholars and students will greatly benefit from reading this book. --Edward Bleiberg, Brooklyn Museum This is a long-needed, tremendously exciting study and there is probably no better individual to undertake it than Simon Connor. While there are numerous volumes on ancient Egyptian sculpture, few delve into the matters addressed in Ancient Egyptian Statues and none approach it as a principal focus. --Peter Lacovara, The Ancient Egyptian Archaeology and Heritage Fund and co-author of Nubian Gold Simon Connor's concise account of ancient Egyptian sculpture is a totally original, well informed, and fascinating look at why statues were made, how they were regarded, and how and why they were used and reused for many different purposes. This beautifully illustrated book holds many surprising facts and insights on the production and consumption of art in antiquity. A must read for anyone who loves Egyptian sculpture. --Emily Teeter, University of Chicago Simon Connor tells an engaging story of ancient Egyptian statues, from their creation and original placement to their reuse in various and sometimes surprising contexts. His wide-ranging selection of examples and his comprehensive bibliography provide ample material for study for scholars and Egyptophiles alike. --Ronald J. Leprohon, University of Toronto This important new study challenges the pervasive (Western) notion that statues capture one moment in time. Pharaonic sculpture can seem particularly static. Simon Connor masterfully demonstrates the constant dialogue between people and Egyptian sculptures, charting multiple lives and afterlives. --Campbell Price, University of Manchester