01 Painting, MODERN & CONTEMPORARY MIDDLE EASTERN ART, With Footnotes - 2l

Parvaneh Etemadi, (Iranian, 1947)
Woman and Urn, c. 1977
cement and oil on panel
31.30 in. (79.50 cm.) (height) by 46.85 in. (119.00 cm.) (width)
Private collection


Parvaneh Etemadi, born in Tehran in 1948, with nearly five decades of lively presence on the scene of visual arts, Parvaneh Etemadi is one of the most successful and popular Iranian artists both in the eyes of art virtuosos and laymen. 

Even though she was born in Tehran,  Etemadi she spent her early childhood in the city of Birjand (in south of Khorasan close to the vast barren eastern Iranian plateau). After finishing both her primary and secondary education in Tehran she began to study at the Fine Art College of Tehran University (1967). This coincided with the foundation of Ta’la’r-e Iran (Hall of Iran, later changed to Talar Ghandriz) by a group of visual arts activists; a significant event attracting many young artists including Parvaneh who not only participated in more than 10 group exhibitions displayed there from 1967 to 1977, but also held her first solo exhibition at the same hall (Ghandriz) in 1969.

During the first period of her artistic activity she appeared as an abstract painter. Her abstract works were free compositions of forms appearing in pleasing proportions with extensive touches of cold opaque colors, nevertheless designed and worked out candidly and resolutely. 

This second period of her artistic activity which took shape in the seventies was a synthesis of constructivism of her first period with a return to figurative art. The works of this period with their rough sketchy textures of oil color on a cement infrastructure and their modern minimal structure, together with the least application of line and color as well as design and figure emerged as plain agreeable charming still lives

In the third period of her works (from 1980 onwards) was a return to the imaginary basement of her grandmother with trunks of old forgotten outfits and textiles. During this period, by virtue of her perfect brilliant technique, a colorful pallet of warm shinny harmonious and balanced colors, she reproduced fine garments and textiles of silk and termeh designed with familiar flowers, fruit and home utensils in very gorgeous still lives. 

In her collages which mark the fourth period of her work, Etemadi began a new venture. Her compositions now made up of cut photocopied pieces of her previous color pencil paintings glued on the surface of wide canvases with still more colorful and varied pallet appeard as a kind of artistic improvisation of fantastic free dancing outfits often breaking through the surface and the frame of the canvas as though refusing to be imprisoned in any limited fixed form. 

After 2000, Parvaneh Etemadi ventured new experiences. Participation in an installation calling public attention to the environment in Hanover, Germany in the same year, working with ceramic and combining it with calligraphy displayed in an applied art exhibition held at House of Iranian Artists and finally beginning a new period (still continuing) exhibited under the title Once upon a Time held at Golestan Gallery in 2004 showing the peak of her collages, this time combined with ancient Iranian myths, fables and literature. More on Parvaneh Etemadi



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