Early in his career, Elie Nadelman gained broad critical attention for his series of idealized heads executed in wood, marble, or bronze. The surface of this diminutive example is as smooth as an egg, while its refined curvilinear outlines affirm Nadelman’s intent to “employ no other line than the curve.” With its noticeably tilted head, somewhat artificial expression, and stylized hair, the piece recalls 16th-century European mannerist sculpture, distinguished by elongated poses and exaggerated gestures. The title, Egyptian Head, reminds the viewer that Nadelman appropriated the art of the past to help him develop his own distinctive aesthetic.