02 Works, The art of War, Angus McBride's Egyptian War Chariot in Action, with Footnotes

Angus McBride
Egyptian War Chariot
Based on z historical wall paintings, the armor and chariot from Tutankhamun's tomb
World History Encyclopedia

Chariots were very expensive, heavy and prone to breakdowns, yet in contrast with early cavalry, chariots offered a more stable platform for archers. Chariots were effective for archery because of the relatively long bows used, and even after the invention of the composite bow the length of the bow was not significantly reduced. Such a bow was difficult to handle while on horseback. A chariot could also carry more ammunition than a single rider. The chariot had a driver and one man with a bow.

Wheels and chariots at the tomb of Pharaoh Tutankhamun

Chariots would eventually form an elite force in the ancient Egyptian military. Infield action, chariots usually delivered the first strike and were closely followed by infantry advancing to exploit the resulting breakthrough, somewhat similar to how infantry might operate behind a group of armed vehicles in modern warfare. These tactics would work best against lines of less-disciplined light infantry militia. Chariots, much faster than foot-soldiers, pursued and dispersed broken enemies to seal the victory. Egyptian light chariots contained one driver and one warrior; both might be armed with bow and spear. More on Chariotry in ancient Egypt

Angus McBride (11 May 1931 – 15 May 2007) was an English historical and fantasy illustrator.

Born in London to Highland Scottish parents, Angus McBride was orphaned as a child, his mother dying when he was five years old, and his father in World War Two when he was 12. He was educated at the Canterbury Cathedral Choir School. He served his National Service in the Royal Fusiliers, and afterward got a job as an advertising artist.

Due to Britain's poor economic state immediately following World War II, McBride found it necessary to leave for South Africa. In Cape Town, he became a fairly well known and successful artist. However, he felt that he could not expand on his artistic plans in South Africa's small publishing industry. Consequently, in 1961, McBride moved back to England. He made his first works in educational magazines. In 1975, he began to work with Osprey Publishing's Men-at-Arms series.

As England's economy again suffered in the 1970s, McBride moved with his family back to Cape Town, and continued to work with British and American publishers. He continued to do realistic, historical illustrations for Osprey Publishing, as well as other such work for other military-history publishers.

Although a few of his paintings are in oils, McBride mostly preferred to work in gouache colours on illustration boards, making numerous detailed sketches of the composition before starting to paint.

In 2006, McBride moved to Ireland, where he continued to work. He died from a heart attack on 15 May 2007. More on Angus McBride




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01 Work, The art of War, Assyrian Army Besieges a City, with Footnotes

An attack on a city by the Assyrian army, , 865-860 BCE
Alabaster bas-relief depicting  Neo-Assyrian Period
The British Museum, London

The Assyrian empire has been described as the "first military power in history". Mesopotamia was the site of some of the earliest recorded battles in history. In fact, the first recorded battle was between the forces of Lagash and Umma c. 2450 BC. Like many Mesopotamian records, it contains elements of fiction. The ruler of Lagash, Eanatum, was inspired by the god Ningirsu to attack the rival kingdom of Umma; the two were involved in minor skirmishes and raids along their respective borders. More on The Assyrian empire




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01 Work, MIDDLE EAST ART, The art of War, Cjb Artist's Middle East Eyes Painting, with Footnotes

Cjb Artist, United Kingdom
Middle East Eyes Painting
Acrylic on Canvas
25.5 W x 35.5 H x 1 D in

Creative resistance; inspired by Palestinian street art, this artwork serves as a reflection of the effectiveness of art as a resistance tool and political instrument in the struggle waged against Israel. It's symbolic power is an effective instrument on account of its ability ...

Cjb Artist is an artist, designer and college dropout, was born in 1988 in Hertfordshire. As a child she possessed creative abilities and would often be found by herself sketching or writing short stories about her adventures travelling to different countries. She moved to London after living in Northern Cyprus where she felt first-hand the reality of being a different race, and the challenges faced with being both black and female. She often draws from these experiences of alienation, prejudice and ignorance in her work as a narration. In particular the fascination with hair texture; her own and how it was perceived by others growing up and as an adult.

Whilst studying for a Fine Arts degree, she hung out in the disreputable, urban council estates of northwest London, immersing herself in black and urban culture; the grime rap scene and dancing, trying to gain a sense of identity and recording her experiences through writing and painting. This influenced her style of painting. She merges classic painting techniques with elements of street art through the use of stencils, spray paint and collages, primarily using acrylics as a medium. Her works range from grand scale to refined decorative pieces, consisting of provocative themes of cultural identity with hints of historical context within a contemporary framework.

Her artworks have been exhibited in galleries across London and acquired in private collections throughout the United Sates

Currently based in London, she is continuing to create artwork, participating in art fairs and exhibitions alongside working as a creative assistant, for a charity that caters for people with mental health issues, facilitating workshops for other artists and raising her child. More on Cjb Artist




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01 Work, The art of War, Cesare Dell'Acqua's Greek mother, with Footnotes

Cesare Dell'Acqua (Italian, 1821-1904)
Greek mother, c. 1860
Oil on canvas
86 x 66 cm.
Private collection

Sold for £ 938,400 (CA$ 1,609,428) in Dec 2007

This painting is an archetypal image of the Greek War of Independence and a classic document in the history of 19th century Philhellenism. 

Cesare dell' Acqua's Greek Mother is a scene full of drama and emotion. Frightened yet fierce, the young mother leaves the spectator in no doubt that no enemy will ever take her child from her arms."  Such a scene not only moves the heart but sanctifies the Greek cause, while alluding to a heroic, glorious past. More on this painting

Cesare Dell'Acqua ( Pirano d'Istria , 22 July 1821 – Ixelles, 16 February 1905 ) was an Italian painter and illustrator.

After completing his first studies in Koper , from 1833 he was in Trieste and from 1842 to 1847 he attended the Academy of Fine Arts in Venice .

From 1848 he was in Brussels in the studio of Louis Gallait , where he specialized in the representation of historical events. Between 1852 and 1877 he performed numerous works in Trieste which made him famous and in demand. Among other things, he was commissioned by Archduke Ferdinand Maximilian of Habsburg to create canvases with phases of the history of Miramare castle which are found in a room on the second floor, called "Cesare Dell'Acqua's Room".

Dell' Acqua always knew how to pick attractive or interesting historical subjects whose analytical rendering recalls the work of Paul Delaroche and Horace Vernet. Captured in sharp detail, his figures convey an appealing impression through the painterly handling of costumes. 

In 1873 he participated in the Universal Exhibition in Vienna and in London the following year. Invitations to the international scene follow one another and will also see him involved overseas.

In the last part of his life he moved permanently to Brussels where he dedicated himself to paintings for book illustrations. More on Cesare Dell'Acqua




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01 Painting, Middle East Artists, THE ART OF WAR, Oussama Diab's Untitled, 2008, with Footnotes #93

Oussama Diab
Untitled, c. 2008
Mixed media on Canvas
71 7/10 × 71 7/10 in | 182 × 182 cm
Private collection

Born in 1977, in Damascus, Oussama Diab is a Palestinian contemporary artist based in Lebanon. He graduated from the Faculty of Fine Arts in Damascus in 2002. Diab has worked through various painting styles, often combining different forms and techniques in a single composition.

His early works amassed paintings in a neo-expressionist style resonating with the tense ridicule language surrounding famed Jean Michel Basquiat's works. Onto large-scale canvases full of dispersed drawings and thick layers of paint in intense colors, the artist embraced iconography and primitivism with a flair of pop art. Diab re-appropriated Leonardo da Vinci's sixteenth-century Mona Lisa, for instance, adopting a Pop art approach – specifically by reintroducing identifiable imagery. Diab would add props and signs into his paintings, making them more relatable to the Palestinian experience. In this case, he would envelop Mona Lisa's face with a kufiyah, or at times she would hold a Kalashnikov.

In recent years, Diab applied the deconstructed figuration of Cubism to his archetypal characters painted in fresh pastel colors. He portrayed figures with intersecting planes that collide as rigid bodies, mirroring the surrounding environment. In reaction to the turmoil in the Arab world and the fragmented state of society forged by political conflicts and migration, Diab depicts fractured bodies within empty, isolated settings. In his neo-cubist paintings, a couple found in his previous works, become the center of attraction. The artist sets his characters against decorative and ornamental backgrounds that seem to extend out of his canvas with no beginning and no end. Although Diab's figurations attain a level of elegance and grace, they possess intense melancholy. More on Oussama Diab




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01 Work, MIDDLE EAST ARTISTS, The art of War, Mahmoud Sabri's Jnazet (Funeral), with Footnotes


Mahmoud Sabri
Jnazet (Funeral), c. 1961 
Oil on canvas mounted on board 
100 by 140cm.; 39 3/8 by 55 1/8 in.
Private collection

Sold for 346,000 GBP in October 2018

The painting Jnazet is the peak of a multifaceted representation of the artist’s political and social ideologies that were intensified following the Ba'athist Coup. The funeral ‘procession’ is harshly etched, with jagged and symmetrical tendencies; an uplifted arm both appears to beat a drum and gesture in defiance. The facial features of the people are grimly set and the bold though austere colours typify the visual language of the artist’s anguish. An exceptional example of Sabri’s important artistic output of this period, Sotheby’s is honoured to offer this iconic work by the artist. More on this painting

The career of the Iraqi modern master Mahmoud Sabri has followed a similar trajectory to that of a number of Middle Eastern artists in exile. Largely ignored for a considerable part of his life for political and personal reasons, his importance has only latterly come to light, and his following and appreciation suddenly taken on a life of its own. Born in 1927 in Baghdad, Sabri pursued a degree in social sciences at Loughborough University in the UK. While in England, his interest in painting developed and he attended evening art classes, making his artistic debut in an exhibition held at the Iraqi Embassy in 1947. Following university he made a successful career in banking, becoming deputy head of the largest national bank in Iraq at the age of 32. He had meanwhile met with the group of artists that was to eventually form the Societé Primitive, including Khalid Al Qassab, Faik Hassan and others, exhibiting with them at the Al-Qassab residence in 1952. Unlike the Jama't Al Fan Al Hadith, including Jewad Selim and Shakir Hassan Al Said, Sabri was committed to a more democratic ideology that everyone's cultural heritage should be incorporated and adopted as his own. Sabri’s education had sensitised him to social issues and with his growing love of art, he soon resigned from the bank to take responsibility for establishing the first Exhibitions Department in Iraq. His political beliefs however remained a central theme throughout most of his artistic career, and he started to focus on painting. Typical of many artists from the region, including those from the neighbouring countries of Iran and Russia, he was socio-politically engaged in a region where artists felt compelled to serve a purpose and art was considered a tool – just like literature – for expressing political concerns and speaking out against repression. Well-read in Marxist thought on art and culture, Sabri naturally gravitated towards Realism and became an active writer and intellectual. More on Mahmoud Sabri




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01 Work, MIDDLE EAST ARTISTS, The art of War, Maher Attar's Samar Baltaji, with Footnotes

Maher Attar
Samar Baltaji
Photograph
Private collection

Samar Baltaji is the one-legged mother in the photo, holding the hand of her maimed daughter, Nisrine, as they walked through a landscape of Beirut at war.

In June 1985, during the war in the Palestinian camps — which pitted the Amal party against the Palestinians — he captured a photo that made the front page of the New York Times and immediately launched his international career. On the back of it he spent 17 years with the Paris-based Sygma agency, criss-crossing the globe.

Paradoxically, though it was violence that first brought him to the art of photography, what Attar is most interested in capturing is tenderness. “There’s a tender violence in my images,” he says. “I’ve always sought tenderness. That’s what I wanted to document in my photos.” For after all, tenderness is light, and light is tenderness. Will he still be able to find it in Beirut, which the poetess Nadia Tuéni once characterized as “the last sanctuary in the East where man can dress in light?” More on this photograph

Maher Attar is a highly renowned Lebanese photographer with 30 years of experience at international photo agencies including AFP, Sygma and Corbis in Paris. He set up his own agency in 2002. In 2006, he founded Art&Privilège, a publishing company specialising in photography, which has published a number of books, and became an Epson-certified “Digigraph“.

Maher’s Bonheur project, inspired from the backstage of famous cabaret Le Lido de Paris, blossomed in the summer of 2006 in the form of a series of exhibitions and a book. Following that, he published Once Upon a Time … Souk Waqif, capturing the mystery and the spirit of the old market in Doha.

Since May 2013, he is devoted to the project Challenges & Reality, sponsored by Education Above All foundation, witnessing the day-to-day circumstances of the children in the hope their right for education. The work was launched at the United Nations headquarters in New York and exhibited at the UNESCO headquarters in Paris.

In the corporate world, Maher Attar works in the field of luxury products. He has worked with, amongst other, Cristalleries Saint-Louis, which belonged to the Hermès company, and for the Spanish architect, Santiago Calatrava. More on Maher Attar. More on Maher Attar




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01 Work, MIDDLE EAST ARTISTS, The art of War, Suleiman Mansour's Motherhood, with Footnotes

 

Suleiman Mansour (b. 1947)
Motherhood, c. 1986
Oil on canvas
108 by 69 cm. 42½by 27 in.
Private collection

Sold for 63,500 GBP in Oct 2023

An impassioned and tender depiction of the relationship between mother and child, Motherhood represents Mansour’s natural tendency towards familiar subjects, here both familial and national. With sincerity, the artist has rendered the ubiquitous narrative of motherhood with a localised style and custom; dressed in traditional robe, the woman holds her child overhead towards the sky, as he grasps for the beaming sun in a ritualistic gesture. More on this painting

Born in a little village near Ramallah in 1947, Suleiman Mansour maintained a great attachment to his native rural hometown and its customs, painting portraits of his relatives since his youngest age. In the 1970s, he took part in a thorough research project on the folkloric heritage of Palestinian culture, an initiative that profoundly shaped his subsequent active involvement in the Palestinian art movement. Preoccupied with the preservation and publication of traditional artworks, Mansour aimed to safeguard indigenous Palestinian culture while offering native forms of inspiration to new generations of artists and influencing contemporary art. 
More on these paintings




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01 Work, MIDDLE EAST ARTISTS, The art of War, Abed Abdi's Expulsion from the Homeland, with Footnotes

Abed Abdi
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 (Lot 77), Samira Badran (Lot 78) and Asim Abu Shakra (Lot 79) are archetypal of Palestinian art in the aftermath of war, reflecting unique and distinct styles expressing the broad struggles and experiences of the Palestinians. More on this painting

Abed Abdi (born February 1942 in Haifa) is a 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 held his first exhibition in Tel Aviv in 1962. He then pursued academic studies at the Fine Arts Academy in Dresden (Germany). His masterwork at the academy received the 2nd prize, which allowed Abdi 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 for a number of Arabic language publications, taught arts and designed murals. The city of Haifa awarded Abdi the "Hermann 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. This has enabled him to unite Palestinian and Israeli artists, and organize joint exhibitions. Abdi founded the Ibda' society for the promotion of visual arts in the Arab Israeli sector and Ara belle - Visual Arts Workshop in Haifa, for the promotion of the visual arts and intercultural dialogue through the arts. 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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01 Work, MIDDLE EAST ARTISTS, the art of War, Badie Jahjah's The dervish liberated me from war and violence, with Footnotes

Badie Jahjah
The dervish liberated me from war and violence
Photograph
Private collection

Dervish, Darvesh, or Darwīsh in Islam can refer broadly to members of a Sufi fraternity, or more narrowly to a religious mendicant, who chose or accepted material poverty. The latter usage is found particularly in Persian and Turkish (derviş) as well as in Amazigh (Aderwish), corresponding to the Arabic term faqīr. Their focus is on the universal values of love and service, deserting the illusions of ego (nafs) to reach God. In most Sufi orders, a dervish is known to practice dhikr through physical exertions or religious practices to attain the ecstatic trance to reach God.Their most popular practice is Sama, which is associated with the 13th-century mystic Rumi. In folklore and with adherents of Sufism, dervishes are often credited with the ability to perform miracles and ascribed supernatural powers. Historically, the term Dervish has also been used more loosely, as the designation of various Islamic political movements or military entities. More on the Dervish

Badie Jahjah is a Syrian multi-disciplinary artist and graphic designer whose work explores the spirit of the dervish. He was born on March 8, 1973 in Syria, in the city of Latakia overlooking the sea. He graduated from Fine Art College in Syria in “Visual Communications” in 1995. During the Syrian war, he founded the “Alif Noun” gallery and opened it in 2016. He began his artistic career as a painter, drawing dervishes and Arabic calligraphy, and then he added to his talents the talent of sculpting, which he did not use until 2016.

Badie Jahjah He began sketching the free lines of movement, documenting the rhythmic meditation, an expression of prayer within the Sufi mystic tradition.

Within this Islamic tradition, dervishes also take a vow of material poverty. In Arabic, someone described as “darwish” — or a dervish — is often perceived as humble.

What began as a personal exploration of an artistic symbol gave way to a deeply spiritual expansion of artistic practice. In capturing the essence of the dervish, Jahjah expanded his research into the works of famous poets Rumi, Tabriz, al-Hallaj, Ibn Arabi, Ibn Rushd, Rabia al-Adawiyya and others.

The dervish is now a constant in Jahjah’s life. He wrote a book titled “Dervish of Habak (basil)”, retracing his journey. To Jahjah, the word basil encompasses the love of his mother and grandmother, who would frequently use basil in their cooking. The word Habak in Arabic symbolizes two things for Jahjah: Hobb which is love, and Haqq which is justice.

Jahjah transcends an often constant outside narrative of conflict and corruption by focusing on the invisible. “Love always has its supporters. Inner peace is between you and yourself,” he says. More on Badie Jahjah




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04 Works, The art of War, Pierre-Georges Jeanniot's Art bearing witness to the agonies of war, with Footnotes

Pierre Georges Jeanniot 
The Survivors of a Massacre Used as Gravediggers, c. 1915
Lithograph on wove paper
8 9/16 x 11 7/16 in.
Clark Art Institute

Pierre Georges Jeanniot 
The Most Tragic Incident at Sieur Vassé's, c. 1915
Lithograph on wove paper
8 1/4 x 9 1/4 in. (21 x 23.5 cm)
Clark Art Institute

Pierre Georges Jeanniot 
Old Woman Being Maltreated by Three German Soldiers in a Church during World War I, c. 1916,
Etching on wove paper
8 1/8 x 10 15/16 in. (20.7 x 27.8 cm) 
Clark Art Institute

Pierre Georges Jeanniot 
A Scene from the Diary of Soldier Z... from the 12th Reserve Infantry Regiment of the First Corps of the Imperial German Army, 1915
Lithograph on wove paper
8 11/16 x 7 1/16 in. (22 x 18 cm)
Clark Art Institute

Pierre Georges Jeanniot was taught by his father Pierre-Alexandre Jeanniot, who for a long time was director of the art college in Dijon. He embarked on a military career, but exhibited watercolours as early as 1872 at the Paris Salon. In 1873, he exhibited his first oil painting there, Le Vernan at Nass-sous-Ste-Anne, and continued to show work there regularly. In 1881, having reached the rank of captain, he left the army in order to work full time as an artist. He settled in Paris, where he won an honourable mention in the Salon of 1882, a third-class medal in 1884 and a silver in 1889 and 1900. His was an assured and independent mind, and so he joined the Société Nationale des Beaux-Arts as soon as it was set up in 1890. He was made a Chevalier of the Légion d’Honneur.

The earliest works he sent in consisted mainly of scenes of military life. Later he was best known for his scenes of fashionable women in Paris at the time of the Belle Époque and on the beaches of the then very new seaside resorts, and for his views of race-meetings, all of these providing valuable sociological evidence. He also illustrated many literary works, among them Maupassant’s Contes choisis (1886), Germinie Lacerteux (1886), Goncourt’s La fille Élisa (1895), and Daudet’s Tartarin de Tarascon (1887). He collaborated on the illustration of Victor Hugo’s Les Misérables in 1887 and also illustrated Zola’s La Débâcle and The Rat-Race (La Curée) of 1893-1894, Octave Mirbeau’s Calvary (Le Calvaire) of 1901, Molière’s Le Misanthrope in 1907, Balzac’s The Peasants (Les Paysans) in 1911, Les Liaisons dangereuses by Laclos in 1917, as well as Voltaire’s Candide and the Voyage à St-Cloud and other works. He was one of those who launched Modern Life (La Vie Moderne), and later he directed the Journal amusant. His drawing is vigorous and expressive, and his great strength lay in his brilliant depictions of the comedy of contemporary life. More on Pierre Georges Jeanniot




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