Tuesday, August 20, 2019

01 Painting, MIDDLE EASTERN ART, With Footnotes - 28

Faeq Hassan, (1914–1992)
Arabian
Private collection

Faeq Hassan (1914–1992) was an Iraqi painter noted for founding several 20th century art groups, which collectively were responsible for bridging the gap between Iraqi heritage and traditional art and modern art. He is often called the 'father of Iraqi modern art.'

Hassan was born in Baghdad in 1914 His father had died before Hassan was born. As a child, he helped his mother who made folkloric clay statues of Arab Bedouins and local farmers. As a young boy, he visited his uncle who was working as a gardener for King Faisal I where the King saw the boy drawing a horse. Recognising his talent, the King promised to give the young artist a scholarship. However, the King died in 1933 before he could carry out his promise.

During the early 1930s, Hassan gave art lessons at a local school, and when the new King Faisal II visited his school, he ordered that Hassan be sent to Paris to study art, thus fulfilling his father's earlier promise to the young boy. He graduated from the École des Beaux-Arts, Paris in 1938. Hassan was one a very small group of artists sent to study abroad. On their return to Iraq, this group became the cornerstone of modern art in Iraq.[4]

On his return to Baghdad, Hassan founded the Painting Department at the Fine Arts Institute in 1939-1940. He also founded the Al-Ruwad (The Pioneers Group), in the 1930s . The group attempted to incorporate local phenomena into art. They rejected the artificial atmosphere of the artist’s studio and encouraged artists to engage with nature and traditional Iraqi life and held their first exhibition in 1931. This group was responsible for taking the first steps towards bridging the gap between modernity and heritage. 

For most of his working life, he was a member of the Iraqi Artists' Society. He died in 1992 from heart failure. More on Faeq Hassan





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Saturday, August 17, 2019

01 Painting, Streets of Paris, by the artists of the time, Part 58 - With Footnotes

JEAN BÉRAUD, French, 1849 - 1935
ROND-POINT DES CHAMPS-ÉLYSÉES 
Oil on panel 
14¾ by 22⅛ in., 37.4 by 56.2 cm
Private collection

In 1889, a Danish visitor to Paris remarked that its boulevards were “the great rendezvous where the whole population flocks together to satisfy its great craving for sociability, where people meet with the wish of being together, and associate with the amiable courtesy and easy approach that is a consequence of the consciousness of being mutually entertaining” Richard Kaufmann

The Avenue des Champs-Élysées is an avenue in the 8th arrondissement of Paris, running between the Place de la Concorde and the Place Charles de Gaulle, where the Arc de Triomphe is located. It is known for its theatres, cafés, and luxury shops, for the annual Bastille Day military parade, and as the finish of the Tour de France cycle race. The name is French for the Elysian Fields, the paradise for dead heroes in Greek mythology. It is one of the most famous streets in the world. More on the Champs-Élysées

Jean Béraud (January 12, 1849 – October 4, 1935) was a French painter, noted for his paintings of Parisian life during the Belle Époque. He was renowned in Paris society due to his numerous paintings depicting the life of Paris, and the nightlife of Paris society. He also painted religious subjects in a contemporary setting. Pictures of the Champs Elysees, cafeés, Montmartre and the banks of the Seine are precisely detailed illustrations of everyday Parisian era of the "Belle Époque". More Jean Béraud,



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01 Paintings, MIDDLE EASTERN ART, With Footnotes - 27

Nuri Iyem, 1915-2005, TURK
TWO WOMEN, c. 1960
Oil on canvasboard
81 by 107cm.; 31 7/8 by 42 1/8 in.
Private collection

“Nuri İyem worked on all types of paintings, but women’s portraits are obviously dominant in his art. Among his portraits, portraits of Anatolian women and landscapes with Anatolian women figures are especially memorable. It is generally accepted that Nuri İyem started painting Anatolian women’s portraits in the 1960s, but the first samples of such portraits can be seen in the exhibition “İstanbul, a port city” in 1941." More on this painting

Nuri İyem, (1915 - d. 18 June 2005 ) was a leading figure in the Turkish painting and social-realistic art movement.

Nuri İyem was born in Istanbul in 1915. During his childhood he used to paint walls with charcoal. Because of his father's job as a health official, İyem spent his childhood in various cities of Anatolia. After finishing primary school in Mardin, he returned back to Istanbul to attend secondary school and he studied at Vefa and Pertevniyal Highschools. 

His passion to be a painter was forcing his dreams through the coasts of Fındıklı where the Fine Arts Academy stood. . Those dreams would be concluded with his enrollment at the Academy in spite of his parents' desire to see their child as a doctor.

Nuri İyem was one of the most important living masters of Turkish painting. He has produced, exhibited, written and discussed art without a break, in spite of all the difficulties to exist as an artist during the social and cultural course of the Republic period. Nuri has crowned his life with many precious art works and his own story is not just an autobiographical representation of an artist, but also an expression of real struggle and honour. More on Nuri İyem





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Wednesday, August 14, 2019

01 Paintings, MIDDLE EASTERN ART, With Footnotes - 43

Sheeba Khan
ZEPHYR
Acrylic on stretched canva
60x90cm

Zephyr may refer to a light wind or west wind. For centuries, poets have eulogized Zephyrus, the Greek god of the west wind, and his "swete breeth". Zephyrus, the personified west wind, eventually evolved into zephyr, a word for a breeze that is westerly or gentle, or both. Today, zephyr is also the sobriquet of a lightweight fabric and the clothing that is made from it. More on Zephyr

"There is no pre-conceived vision. Maybe, on occasion, I may have a burning issue that I would like to address. But more often than not, I start blank. I stand in front of a pure, white canvas and it mirrors my state of mind. I let my subconscious take control and I let rip. Every daub of color, every layer finds a life of its own. The intricate network of lines and specks, and subliminal shapes leave the complex nooks and crannies of my mind and happily pick their spot on the canvas." Sheeba Khan

Sheeba Khan is a Self-taught artist based in Dubai, Dubai - United Arab Emirates




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Tuesday, August 6, 2019

01 Painting, Streets of Paris, by the artists of the time, Part 57 - With Footnotes

Eugène Galien-Laloue, (1854-1941) 
View of the flower market Place de la Madeleine 
Gouache on paper 
23.4 x 31 CM - 9 1/4 x 12 1/4 in. 
Private collection

The Boulevard de la Madeleine is one of the four 'grands boulevards' of Paris, France, a chain of roads running east-west that includes the boulevard de la Madeleine, the boulevard des Capucines, the boulevard des Italiens and the boulevard Montmartre.

The boulevard is named after the nearby Église de la Madeleine. More on Place de la Madeleine

Eugène Galien-Laloue (1854–1941) was a French artist of French-Italian parents and was born in Paris on December 11, 1854. He was a populariser of street scenes, usually painted in autumn or winter. His paintings of the early 1900s accurately represent the era in which he lived: a happy, bustling Paris, la Belle Époque, with horse-drawn carriages, trolley cars and its first omnibuses. Galien-Laloue's works are valued not only for their contribution to 20th-century art, but for the actual history, which they document. His work can be seen at the Musée des Beaux-Arts, Louvier; Musée des Beaux-Arts, La Rochelle; Mulhouse, France.

A typical Galien-Laloue painting depicts sidewalks and avenues crowded with people or tourists mingling before the capital's monuments. He also painted the landscapes of Normandy and Seine-et-Marne, as well as military scenes he was commissioned to produce in 1914. The Republic of France selected Galien-Laloue to work as a 'war artist,' both during the Franco-Prussian War and World War I, chiefly in watercolor. More on Eugène Galien-Laloue




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01 Paintings, MIDDLE EASTERN ART, With Footnotes - 26

Abed Abdi, B. 1942, PALESTINIAN
EXPULSION FROM THE HOMELAND, c/ 1967
Oil on canvas 
56 by 76cm.; 22 by 29 3/4 in.
Private collection

Palestinian art history is largely characterized by fragmentation, both in style and content, which is a result of ongoing wars and displacement of people. Despite historical ruptures in time and space, artists have flourished in a multitude of voices and places to create a vibrant Palestinian art scene. The featured works by Abed Abdi re archetypal of Palestinian art in the aftermath of war, reflecting unique and distinct styles expressing the broad struggles and experiences of the Palestinians.  More about this painting

Abed Abdi, born February 1942, Haifa, Mandate Palestine) is an Arab Palestinian painter, graphic designer, sculptor and art lecturer. 

Abdi worked as a blacksmith and illustrated Arabic publications that appeared in Israel. After studying in Dresden, Abdi became the first Palestinian to build monumental art on native soil. His allegorical monuments in Galilee, honoring human fortitude and resistance, include a narrative mural depicting Elijah's defiance and survival and a bronze Land Day memorial.

Abdi's masterwork at the Dresden Academy received the 2nd prize, which allowed him to spend another year at the Academy and specialize in murals and environmental sculpture. In 1972 he returned to Haifa, and worked as graphic designer, taught arts and designed murals. The city of Haifa awarded Abdi the "Herman Struck Best Artist of the Year" Prize in 1973. That year, he also obtained the Young Artist's award at the Berlin International Youth Festival. The city of Haifa awarded him the "Best Artist of the Year Hermann Struck" award for the second time in 1999.

Abdi is an active member of the Haifa branch of the Israeli Association of Painters and Sculptures, as well as the Jewish-Arab Center of Beit Hagefen. Abdi founded the Ibda' society for the promotion of visual arts in the Arab Israeli sector and Ara belle - Visual Arts Workshop in Haifa. Abdi is president of Al Midan Theater in Haifa. He has been teaching fine arts in the Arab Pedagogical College in Haifa since 1985. More on Abed Abdi 





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Thursday, August 1, 2019

01 Painting, The amorous game, Part 51 - With Footnotes

EUGEN VON BLAAS, Austrian, 1843 - 1931
FESTIVAL DAY, VENICE, c. 1879
Oil on canvas
45 by 66½ in., 114.3 by 168.9 cm
Private collection

Jean Béraud (January 12, 1849 – October 4, 1935) was a French painter, noted for his paintings of Parisian life during the Belle Époque. He was renowned in Paris society due to his numerous paintings depicting the life of Paris, and the nightlife of Paris society. He also painted religious subjects in a contemporary setting. Pictures of the Champs Elysees, cafeés, Montmartre and the banks of the Seine are precisely detailed illustrations of everyday Parisian era of the "Belle Époque". More Jean Béraud




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01 Painting, Streets of Paris, by the artists of the time, Part 56 - With Footnotes

Camille Pissarro, 1830 - 1903
LE BOULEVARD MONTMARTRE, FIN DE JOURNÉE/ END OF THE DAY, c. 1897
Oil on canvas
54 by 65cm., 21 1/4 by 25 5/8 in.
Private collection

The Boulevard Montmartre is one of the four grands boulevards of Paris. It was constructed in 1763. Contrary to what its name may suggest, the road is not situated on the hills of Montmartre. It is the easternmost of the grand boulevards. More on The Boulevard Montmartre

Camille Pissarro (10 July 1830 – 13 November 1903) was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies). His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54.

In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Art historian John Rewald called Pissarro the "dean of the Impressionist painters", not only because he was the oldest of the group, but also "by virtue of his wisdom and his balanced, kind, and warmhearted personality".  More Camille Pissarro




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01 Painting, MIDDLE EASTERN ART, With Footnotes - 25

Mahmoud Sabri, 1927 - 2012, IRAQI
AL MAWT AL-TAFL/ THE DEATH OF A CHILD, c. 1963
Oil on canvas
137 by 196cm.; 54 by 77 1/8 in.
Private collection

Mahmoud Sabri, 1927 - 2012, was an Iraqi painter, considered as one of the pioneers of Iraqi modern art and one of the pillars of modernism in Iraqi Art.

Born in Baghdad, Iraq, died on 13th April 2012 in Maidenhead, England. Studied social sciences at Loughborough University (England) in the late 1940s. While in England, his interest in painting developed and he attended evening art classes there. After a successful career in banking, he became a full-time painter.

In the 1950s he pioneered the painting of social and political issues. Later he studied art formally at the Surikov Institute for Art in Moscow 1961-1963. In 1963 he moved to Prague. In the late 1960s he started working on linking art and science.

He was actively involved in Iraq's arts community through his membership of various art groups. Led by his contemporary, Faeq Hassan (1914-1992), this group was inspired by Mespotamian art, Iraqi folklore and the 12th and 13th-century poets of the Baghdad School.

In 1971, he published his Manifesto of the New Art of Quantum Realism, QR. An application of scientific method in the field of art.  QR graphically represents the atomic level of reality using building blocks based on the atomic light spectra of elements in nature. He continued to work on developing QR until his death. He had several publications on art, philosophy and politics in Arabic and English. More on Mahmoud Sabri





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Sunday, July 28, 2019

02 Paintings, MIDDLE EASTERN ART, With Footnotes - 24

Antoine Malliarakis Mayo, 1905 - 1990, EGYPTIAN
JEUNE FELLAH/ YOUNG FELLAH, c. 1934
Oil on board
35 by 26.5cm.; 13 3/4 by 10 1/2 in.
Private collection

Fellah, plural Fellaheen, is a farmer or agricultural laborer in the Middle East and North Africa. The word derives from the Arabic word for "ploughman" or "tiller".

Due to a continuity in beliefs and lifestyle, the fellahin of Egypt have been described as the "true Egyptians".

A fellah could be seen wearing a simple Egyptian cotton robe called galabieh. The word Galabieh originated around 1715–25 and derived from the Egyptian slang word gallabīyah.

Comprising 60% of the Egyptian population, the fellahin lead humble lives and continue to live in mud-brick houses like their ancient ancestors. In 1927, anthropologist Winifred Blackman, author of The Fellahin of Upper Egypt, conducted ethnographic research on the life of Upper Egyptian farmers and concluded that there were observable continuities between the cultural and religious beliefs and practices of the fellahin and those of ancient Egyptians. More on the Fellah

Antoine Malliarakis Mayo, 1905 - 1990, EGYPTIAN
PETITS ARABES À ISMAILIA/ ARAB CHILDREN, ISMAILIA , c. 1934
Oil on board
35 by 26.5cm.; 13 3/4 by 10 1/2 in.
Private collection

Antoine Malliarakis Mayo,  was born in 1905 in Egypt, the son of a Greek engineer and a French mother. Although he kept a Greek passport throughout his life, he was culturally French and lived in France for half of his life after leaving Egypt. He came to France to study architecture but started frequenting artistic circles in the Paris of the roaring twenties and decided to become a painter instead. He made a living decorating cabarets and, later, designing costumes for stage productions, while continuing to paint. In 1944 his friend, writer Jacques Prévert, recommended him as costume designer for the classical period piece "Les Enfants du Paradis". The film was a hit and allowed Mayo to lead a 20-year career in French cinema, designing the costumes (and sometimes the scenery) of several classics. In the meantime, he also worked as art director on many commercials. With the early 60s, and the coming of the "Nouvelle Vague", period pieces became less frequent, and Mayo had less work offers. He ultimately decided to leave movies to concentrate on his paintings. Having moved to Rome, Italy, in the mid-sixties, he finally managed to make a good living with his paintings alone. Unfortunately, in the early eighties, Mayo gradually lost his eyesight. In 1984 he moved back to France and died in 1990, aged 85. More on Antoine Malliarakis Mayo





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