Art Blog: June 2019

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

Marco Cornini (Italian, born 1966)

Untitled

Painted terracotta

80 x 114 x 10 cm. (31.5 x 44.9 x 3.9 in.)

Private collection

The artist of desire, essentially, is Marco Cornini (Milan, 1966). Graduated in sculpture at Brera, his hands have almost exclusively modeled female figures for thirty years. In terracotta colored with acrylics, of medium size. Slim young women, long hair, all rather similar to each other, always very little dressed, sitting or half-lying, isolated in space, in a waiting position. Softly (very gently) obsessive-compulsive, their author reveals that they do not use models or photographs but rely entirely on their imagination.

Cornini has established himself as one of the artists of the new figuration since the beginning of his career, followed and reported gladly in particular by the most devoted national critics of figurative expression, via Alessandro Alessandro Riva, the late Maurizio Sciaccaluga, Vittorio Sgarbi, Beatrice Buscaroli, Luca Beatrice. And in fact his sculpture is always, in its own way, narrative. On the one hand he has chosen to resort to an outdated technique, terracotta, which links it to a past that is increasingly on the run, from Arturo Martini's composure up and up to the hieratic fixity of Etruscan plastic. On the other hand, not only for the use of color but for the choice - both conceptual and sentimental - of overtly introspective subjects, he confesses that he is at least as modern as Edward Hopper(while Luca Beatrice, quite rightly, he related it to the Dino Buzzati of Un amore , the beautiful novel dedicated to the lost love of a Milanese bourgeois for a lolitesca puttanella, the unforgettable Laide). More on Marco Cornini

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01 Paintings, MIDDLE EASTERN ART, With Footnotes - 18

Inji Efflatoun (Egypt, 1924-1984)

In the Woman’s Prison, c. 1960

From her period in prison

Oil on wood

58x52 Cm

Private collection

Inji Aflatoun (1924–1989) was an Egyptian painter and activist in the women's movement. She was a "leading spokesman for the Marxist-progressive-nationalist-feminist spokeswoman in the late 1940s and 1950s", as well as a "pioneer of modern Egyptian art" and "one of the important Egyptian visual artists"

During school, Aflatoun liked to paint and her parents encouraged her. Her private art tutor, Kamel al-Timisani, a leader in an Egyptian Surrealist collective called the Art and Freedom Group, introduced her to surrealist and cubist aesthetics. Her paintings of that period are influenced by surrealism. She later recalled that people were astonished by her paintings and wondered "why a girl from a rich family was so tormented". She stopped painting from 1946 to 1948, considering that what she was painting no longer corresponded to her feelings. Her interest was later renewed after visiting Luxor, Nubia, and the Egyptian oases. During these trips, she had the opportunity to "penetrate the houses and sketch men and women at work". She studied for a year with the Egyptian-born Swiss artist Margo Veillon During this period, she made individual exhibits in Cairo and Alexandria and showed at the Venice Biennale in 1952 and the São Paulo Art Biennial in 1956. In 1956 she became friends with and was later influenced by the Mexican painter David Alfaro Siqueiros.

She was arrested and secretly imprisoned during Nasser's roundup of communists in 1959. After her release in 1963, Egypt's Communist party having been dissolved, she devoted most of her time to painting. She later declared: "Nasser, although he put me in prison, was a good patriot."She was able to continue painting during her imprisonment. Her early prison paintings are portraits, while the later are landscapes. In the years after her liberation, she exhibited in Rome and Paris in 1967, Dresden, East Berlin, Warsaw and Moscow in 1970, Sofia in 1974, Prague in 1975, New Delhi in 1979. Her paintings are filled with "lively brushstrokes of intense color" reminding some observers of Van Gogh or Bonnard. Her art of later years is characterised by an increasing use of large white spaces around her forms. A collection of her works is displayed at the Amir Taz Palace in Cairo. More on Inji Aflatoun

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01 Painting, Streets of Paris, by the artists of the time, Part 53 - With Footnotes

Antoine Blanchard, (1910-1988 French)

Le Moulin Rouge à Montmartre, c. 1900

Oil on linen canvas

18" H x 21.5" W

Private collection

Moulin Rouge, (French for "Red Mill") is a cabaret in Paris. The original house, which burned down in 1915, was co-founded in 1889 by Charles Zidler and Joseph Oller, who also owned the Paris Olympia. Close to Montmartre in the Paris district of Pigalle on Boulevard de Clichy in the 18th arrondissement, it is marked by the red windmill on its roof.

Moulin Rouge is best known as the spiritual birthplace of the modern form of the can-can dance. Originally introduced as a seductive dance by the courtesans who operated from the site, the can-can dance revue evolved into a form of entertainment of its own and led to the introduction of cabarets across Europe. Today, the Moulin Rouge is a tourist attraction, offering musical dance entertainment for visitors from around the world. The club's decor still contains much of the romance of fin de siècle France. More on the Moulin Rouge

Antoine Blanchard is the pseudonym under which the French painter Marcel Masson (15 November 1910 – 1988) painted his immensely popular Parisian street scenes. He was born in a small village near the banks of the Loire.

Blanchard received his initial artistic training at the Beaux-Arts in Rennes, Brittany. He then moved to Paris in 1932 where he joined the Ecole des Beaux-Arts. He won the Prix de Rome.

Like Édouard Cortès (1882–1969) and Eugène Galien-Laloue (1854–1941), Antoine Blanchard essentially painted Paris and the Parisians in bygone days, often from vintage postcards. The artist began painting his Paris street scenes in the late 1950s, and like Cortès, often painted the same Paris landmark many times, in different weather conditions or various seasons. The most recurrent topics were views of the capital city in cloudy or rainy days, showing streets busy with pedestrians in a rush to go home, and bright storefronts reflecting on wet streets.

Antoine Blanchard died in 1988. More on Antoine Blanchard

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02 Paintings, The amorous game, Part 52 - With Footnotes

Badri Narayan

Untitled

Watercolour on paper

11.75 x 11.5 in (29.7 x 29.3 cm)

Private collection

Badri Narayan (22 July 1929, Secunderabad, India - 23 September 2013, Bangalore) was an artist, illustrator, author and story-teller.

Narayan began painting with no formal training, and his first public showing was in 1949, followed by a solo show in 1954. He had over 50 solo shows and his work is in several collections, including the National Gallery of Modern Art and the National Museum in New Delhi as well as the Philadelphia Museum of Art's South Asian Collection. Initially, he worked on tile and ceramic, and this informed some of his subsequent water-colours. His paintings are intimate and appealing, often with an element of fantasy, with simple outlines and accessible subject matter in two-dimensional stylised representations. He worked primarily in ink or pastel and watercolour.

He also illustrated children's books and wrote short stories and verse. He has been the subject of a documentary by Mumbai All India Radio, and received numerous awards, including the Padma Shri in 1987 and the Maharashtra Gourav Puruskar in 1990.

Badri Narayan died on 23 September 2013 due to frail health, at a hospital in Bangalore. More on Badri Narayan

Badri Narayan

Untitled

Watercolour on paper

11.5 x 11.5 in (29.3 x 29.3 cm)

Private collection

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01 Paintings, MIDDLE EASTERN ART, With Footnotes - 17

Nabil Anani

Vision, c. 2013

Acrylic on canvas

107×120 cm

Private collection

Nabil Anani (b.1943, Latroun, Palestine) is one of the most prominent Palestinian artists working today. He is considered by many as a key founder of the contemporary Palestinian art movement.

On graduating in Fine Art from Alexandra University, Egypt [in 1969], Anani returned to his native Palestine and began a fruitful career as an artist and a teacher trainer at the UN training college in Ramallah. Anani held his first exhibition in Jerusalem in 1972 and has since exhibited widely in Europe, North America, the Middle East, North Africa and Japan – both as an individual artist and with groups of his Palestinian contemporaries.

Anani is a multi-talented artist, for he is a painter, a ceramicist and a sculptor. He pioneered the use of local media such as leather, henna, natural dyes, Papier-mâché, wood, beads and copper. Over the past four decades, Anani has built an impressive catalogue of outstanding, innovative and unique art.

Anani was awarded the first Palestinian National Prize for Visual Art in 1997 and became the head of the League of Palestinian Artists in 1998. On retiring from his teaching post in 2003, Anani has dedicated much of his time to voluntary pastimes, leading on the League’s activities and playing a key role in the establishment of the first International Academy of Fine Art in Palestine – with the assistance of the University of Oslo and the Norwegian Ministry of Foreign Affairs. More on Nabil Anani

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01 Photograph, Streets of Paris, by the artists of the time, Part 42 - With Footnotes

Eugène Atget

Bd Montmartre, Boulevard de Bonne Nouvelle, c. 1926

Photograph

8 ¾ x 6 ¾ in.; 22,7 x 17,2 cm

Private collection

This boulevard saw its construction prescribed in 1676. It was built and named after the church Notre-Dame-de-Bonne-Nouvelle.

The execution of the alignments approved by the royal decree of May 15, 1832 resulted in the removal of the impasse of the Message Boards. The Rue Basse Porte Saint-Denis.
Part of rue Basse Porte Saint-Denis were absorbed by the boulevard.

This last road was formerly known as rue Basse Villeneuve, rue Neuve des Fosses Saint-Denis, rue Neuve des Filles Dieu and, during the Revolution, rue des Fossés de Franciade.

The boulevard connects the Boulevard Saint Denis , at the Porte St. Denis to Boulevard Poissonnière

Eugène Atget (12 February 1857 – 4 August 1927) was a French flâneur and a pioneer of documentary photography, noted for his determination to document all of the architecture and street scenes of Paris before their disappearance to modernization. Most of his photographs were first published by Berenice Abbott after his death. An inspiration for the surrealists and other artists, his genius was only recognized by a handful of young artists in the last two years of his life, and he did not live to see the wide acclaim his work would eventually receive. More on Eugène Atget

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01 Painting, MIDDLE EASTERN ART, With Footnotes - 16

Sliman Mansour

A Family Without a Shadow, c. 2018

Charcoal and acrylic on canvas

115 x 140 cm

Private collection

The overwhelming significance of the physicality of Jerusalem as a national symbol permeates many of the artworks. The iconic representation of the Dome of the Rock comes to the fore as some artists celebrate the city

Born in 1947, Birzeit, Palestine, Sliman Mansour studied fine art at the Bezalel Art Academy in Jerusalem. He has held solo exhibitions in Ramallah, New York, Sharjah, Cairo, Gaza and Stavanger, Norway. His group exhibitions include Museum of Oriental Art, Moscow (1980), Palestinian Spring, Al-Hakawati Theatre, Jerusalem, 1985; New Visions, Jordan National Gallery of Fine Arts, Amman, 1991; Made in Palestine, Station Museum of Contemporary Art, Houston, Texas, 2003; and Contemporary Graphic Art in the Arab World, Nabad Gallery, Amman, 2010. In 1998 he received the Palestine Prize for the Visual Arts at the Cairo Biennial. Sliman Mansour draws inspiration from the subject of the olive tree, and has focused on the theme of ‘land’ since 1970. His recent work is centred on the individual figure to convey the ‘different states of exhausting anticipation or loss,’ resulting from his experience of living under the occupation. More on Sliman Mansour

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01 Painting, Streets of Paris, by the artists of the time, Part 52 - With Footnotes

Elisée Maclet, (French, 1881-1962)

Rue de la belle étoile

Oil on board

53 x 36cm (20 7/8 x 14 3/16in)

Private collection

Jules-Émile Élisée Maclet is famous for his Paris street scenes, much in the tradition that Utrillo would soon follow. Born in Lihons-en-Santerre, Picardie (April 12, 1881), the artist began his career while still a choirboy. He moved to Montmartre in 1906, after his mother's death, where he began painting the Montmartre landscape, anticipating the themes that Utrillo would eventually depict, as well as other colorful scenes of the city (and elsewhere in France and Italy). He would have had more works extant today, but he was institutionalized much of the last 30 years of his life. More on Jules-Émile Élisée Maclet

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01 Painting, MIDDLE EASTERN ART, Hosni Radwan's Jerusalem #3, with Footnotes - 15

Hosni Radwan

Jerusalem #3, c. 2018

51 YEARS OF OCCUPATION

Charcoal and gold leaf on canvas

136 x 208 cm

Private collection

Hosni Radwan was born in Baghdad in 1955. He studied fine arts at the University of Baghdad specializing in graphics. He held a number of solo exhibitions in Iraq, Lebanon, Cyprus, Japan and Palestine. Radwan took part in international biennales including those of Berlin, Cairo and Sharja. He left Baghdad in 1979 and headed to Beirut where he worked in graphic design and journalism while continuing to draw and paint using his talents to express his position vis-à-vis the cause of his people.

He has exhibited widely and his solo shows have been held in cities including Tunis (1993); Tokyo (1985); Nicosia (1983); Ramallah (2003 ,2002 ,1997, 2017); Baghdad (2001) and Kuwait (2008). Radwan currently lives and works in Ramallah. More on Hosni Radwan

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01 Painting, The amorous game, Part 50 - With Footnotes

Jurij Frey, Germany

Seated

Oil on Canvas

39.4 W x 39.4 H x 0.8 in

Private collection

The German artist Jurij Frey has developed a realist style of painting whose blocks of colour and contrasts of light nevertheless allow us to make out all of the inner complexity. Inspired by a universal subject, man and his condition, the painter and trained illustrator proceeds with touches that he applies with lively, irregular gestures, always allowing haziness, an incertitude in the contours of shapes to appear, symbolising the doubt present in each of us. Exploring the contrast between speed, acceleration of urban life and personal, intimate searching for serenity, peace, the need for nature, light, wandering and large spaces, the artist points out the contradictions of the contemporary world. Capturing these subtle emotions through lively and hot-headed painting, Jurij Frey gives himself over to a contrasted practice between big brush strokes that are wide and almost clumsy, and nimbleness, the fleetingness of the moment celebrated in his paintings by the light. Inspired first of all by the city he lives in, he draws on the marks that history, architecture and traditions have left behind, that fight to prevail at the same time as they contain their breath to give way to Modern Times. More on Jurij Frey

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01 Painting, Streets of Paris, by the artists of the time, Part 51 - With Footnotes

Elisee Maclet

Le Moulin de la Galette

Oil on canvas

18 × 21 1/2 in, 45.7 × 54.6 cm

Private collection

The Moulin de la Galette is a windmill and associated businesses situated near the top of the district of Montmartre in Paris. Since the 17th century the windmill has been known for more than just its milling capabilities. Nineteenth-century owners and millers, the Debray family, made a brown bread, galette, which became popular and thus the name of the windmill and its businesses, which have included a famous guinguette and restaurant. In the 19th century, Le Moulin de la Galette represented diversion for Parisians seeking entertainment, a glass of wine and bread made from flour ground by the windmill. Artists, such as Renoir, van Gogh, and Pissarro have immortalized Le Moulin de la Galette; likely the most notable was Renoir's festive painting, Bal du moulin de la Galette. More on The Moulin de la Galette

Jules-Émile Élisée Maclet is famous for his Paris street scenes, much in the tradition that Utrillo would soon follow. Indeed, born in Lihons-en-Santerre, Picardie (April 12, 1881), the artist began his career while still a choirboy. He moved to Montmartre in 1906, after his mother's death, where he began painting the Montmartre landscape, anticipating the themes that Utrillo would eventually depict, as well as other colorful scenes of the city (and elsewhere in France and Italy). He would have had more works extant today, but he was institutionalized much of the last 30 years of his life. More on Jules-Émile Élisée Maclet

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01 Paintings, MIDDLE EASTERN ART, With Footnotes - 14

Zena Assi

Ricochets 1, 2016

Mixed media and paper, collage on canvas

170 × 70 cm

Private collection

Born in Lebanon, in 1974, Zena Assi lives and works between Beirut and London. She graduated with honors from l’Academie Libanaise des Beaux Arts (ALBA), where she received a master's degree in advertisement. Later on she worked in Saatchi&Saatchi advertisement agency for a few years in Beirut, and taught drawing and visual communication in different universities. Since 2005, she has been producing artistic work to depict and portray the socio-cultural aspect of our contemporary urban society. More on Zena Assi

Assi is a multidisciplinary Lebanese artist. After living and working in her birth country for 40 years, Assi moved to the UK in 2014. Her contemporary work draws inspiration from the relations and conflicts between the individual and his spatial environment, society and its surroundings. Her pieces are punctuated by strong visual references to her native Beirut and the predicament of its citizens. The work takes shape in installation, animation, sculpture, and mainly paintings. Many of her pieces were repeatedly shown in different international auction houses (Christie’s Dubai, Sotheby’s London, and Bonhams London) and are part of various public as well as private collections.

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01 Paintings, MIDDLE EASTERN ART, Walid Ebeid's Halal meat, with Footnotes - #13

Walid Ebeid, b. 1970, Egypt

Halal meat

Oil on Canvas

120 H x 120 W x 4 in

Private collection

Walid Ebeid was born in Cairo in 1970 and raised in Yemen during his childhood. Walid graduated with a BFA from the Faculty of Fine Arts, Helwan University, in 1992. His work has been exhibited internationally, earning him a reputation for his powerful expressive style.

The controversial and provocative paintings of Walid Ebeid range from poignant studies of the female figure to People We May Know in the Egyptian society. Tackling difficult issues like sexuality, immigration, politics and oppression, Walid brings attention to the sufferings, struggles, and hopes of humanity. His realistic oil paintings have broken a great deal of social and moral taboos and challenged different customs and traditions imposed by society, to defend women and the oppressed of all categories and social classes.

His searches and experiments went through several phases to reach his current phase, which he calls “realistic expressionism.” His artwork resembles him closely. His art reflects reality and the changes taking place around us and mainly focus on strange things that we may quickly lose interest in, but leave a lasting impact.

“My art is for the people. And it is why people can relate to my art as if it is their own, and why they sometimes ask me to execute certain images, believing that I can express their feelings.” More on Walid Ebeid

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