This research consists of four axes: the first studies the theoretical framework, the second axis deals with objectivity in examples of Egyptian photography, then the third axis: it deals with objectivity in the works of the artist Amany Fahmy, then the fourth axis: which are the results of the research, which were represented in the following: - The artist arrived With her intelligence, she creates an internal dialogue between the elements of the work that does not stop with the end of seeing her works, through her knowledge and reading about the origin of the objectivity of things coexisting in eloquent silence.The artist was attracted to the characteristic of circularity, so she responded to it in formulating her paintings, which trace their origins to the artist “Fouad Kamel," in addition to studying the energy of the body, charged with gestures, which comes out sincerely from the first glance to find its final resting place on the surface of the pictorial work. The artist combined three artistic trends in her works: abstract expressionism, collage and simplification, wrapped in spontaneity and spontaneity that do not require brushing the surface to soften the touches or refining the surface with varnish. The artist “Amany" moved away from highlighting the illusionary element of the third dimension in favor of heading to the conceptual surface through an austere, reductionist vision. She called for the annihilation of dimensions and the preservation of the one dimension - which is the origin and basis. The artist's deep understanding of authenticity and Egyptian heritage led her not to quote style or technique - as is the custom of artists, but rather from the nature of the situation in her time, to take a new, contemporary position in which she preserved the spirit of heritage - even if she did not borrow the apparent meaning of heritage from anything.