Sunday, July 14, 2019

01 Paintings, MIDDLE EASTERN ART, With Footnotes - 22

Ghasem Hajizadeh, B. 1947, IRANIAN
MARRIAGE PRIMEUR (FIRST MARRIAGE), c. 2008
Oil, pen, acrylic and plaster on paper laid on canvas 
81 by 60cm.; 32 by 23 1/2 in
Private collection

Ghasem Hajizadeh (orn April 1, 1947; Lahijan, Iran) is an Iranian–French painter and a pioneering Pop art figure in contemporary Iranian art.

Hajizadeh was born in 1947 in Lahijan, north of Iran. He received his diploma in arts from Tehran High School of Fine Arts in 1967 and soon after started his art career. During his early years, Hajizadeh's works were mostly abstract. However, he changed his style and concentrated on figurative art. During the 1960s and early 1970s, he was encouraged him to pursue pop art movement, which was thriving in the United States. In 1972, Hajizadeh participated in the first art exhibition, held by Iran–America Society.

While he held several solo and group exhibitions inside and outside post-revolution Iran, after establishment of the Islamic Republic, he could no longer run any public exhibitions for his work. In 1986, he fled to France, living and working in Paris. During his career in arts, his works have been shown in galleries and museum around the world. More on Ghasem Hajizadeh




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01 Painting, Streets of Paris, by the artists of the time, Part 54 - With Footnotes

LOUIS VAN DER POL, Dutch (1896-1982)
Paris Bar Scene
Oil on canvas
24 x 20 inches
Private collection

Louis Van Der Pol (Dutch, 1896-1982) was active in the 20th Century and lived in Holland. He was known for his large format elaborate romantic portrait paintings and city street scenes. He traveled to France often to pick up inspiration from the air of the artist scene. This piece is a fine example of his cityscape views of Paris during the early 20th Century. More on Louis Van Der Pol




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Saturday, July 13, 2019

01 Paintings, MIDDLE EASTERN ART, With Footnotes - 21

Paul Guiragossian, 1926-1993, LEBANESE
MÈRE ET ENFANT (MOTHER AND CHILD), c. 1987
Oil on canvas 
90 by 70cm.; 35 1/2 by 27 1/2 in.
Private collection

Paul Guiragossian (1926 – November 20, 1993) was an Armenian Lebanese painter. Born to Armenian parents, Paul Guiragossian experienced the consequences of exile from a very tender age. Raised in boarding schools, he grew up away from his mother who had to work to make sure her two sons got an education.

In the 1950s, Guiragossian started teaching art in several Armenian schools and worked as an illustrator. He later started his own business with his brother Antoine, painting cinema banners, posters and drawing illustrations for books. Soon after he was discovered for his art and introduced to his contemporaries after which he began exhibiting his works in Beirut and eventually all over the world.

In 1956, Guiragossian won the first prize in a painting competition, which landed him a scholarship by the Italian government to study at The Academy of Fine Arts of Florence.

In 1962, Guiragossian was granted another scholarship, this time by the French Government, to study and paint in Paris at Les Atelier Des Maîtres De L'Ecole De Paris.

By the mid 1960s Guiragossian had grown to become one of the most celebrated artists in Lebanon and eventually of the Arab world and even though war broke out in the early 1970s, his attachment to Lebanon grew bigger and his works became more colorful with messages of hope for his people.

In 1989, Guiragossian went to Paris to exhibit his works in La Salle Des Pas Perdus in UNESCO and lived in the city with part of his family until 1991. In that year, he had a solo exhibition at the Institut du Monde Arabe. This exhibition was extended and marked the first solo show at the IMA for any artist. More on Guiragossian




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Wednesday, July 10, 2019

01 Painting, MIDDLE EASTERN ART, With Footnotes - 20

Shakir Hassan Al-Said, 1925-2004, IRAQI
LADY WITH THE HAT, c. 1956 
Oil on canvas
45 by 32cm.; 17 3/4 by 12 1/2 in.
Private collection

Shakir Hassan Al Said (1925–2004), an Iraqi painter, sculptor and writer, is considered one of Iraq's most innovative and influential artists.

Born in Samawa, Al Said lived, worked and died in Bagdad. In 1948 he received  a degree in social science from the Higher Institute of Teachers in Baghdad and in 1954 a diploma in painting from the Institute of Fine Arts in Baghdad. He continued his studies at the École nationale supérieure des Beaux-Arts in Paris until 1959. During his stay in Paris, he discovered Western modern art in galleries and Sumerian art at the Louvre. He returned to Baghdad in 1959.

He co-founded in 1951 with Jawad Saleem Jama'et Baghdad lil Fann al-Hadith (Baghdad Modern Art Group), one of the most unusual arts movements in the Middle East in the post–World War II, itwas called Istilham al-turath (Seeking inspiration from tradition), considered as "the basic point of departure, to achieve through modern styles, a cultural vision". He headed the group after the death of Saleem in 1961.[12]

In 1971, he founded Al Bu'd al Wahad (the One-dimension Group)", which promoted the modern calligraphic school in Arab art.

His work is collected by major museums, such as Mathaf: Arab Museum of Modern Art in Doha, the Guggenheim in New York, and Sharjah Art Museum. More on Shakir Hassan Al Said 





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Thursday, July 4, 2019

01 Paintings, The amorous game, Part 49 - With Footnotes

Ralph Hedley, (British, 1848-1913)
Jack ashore, old Whitby 
Oil on canvas 
76.2 x 101.6cm (30 x 40in)
Private collection

Whitby is a town in North Yorkshire, historic county of Yorkshire, northeastern England. It is situated at the mouth of the River Esk on the North Sea.

Ralph Hedley (31 December 1848 – 14 June 1913) was a realist painter, woodcarver and illustrator, best known for his paintings portraying scenes of everyday life in the North East of England.

Born in Gilling West near Richmond, North Yorkshire, Ralph and his parents moved to Newcastle upon Tyne around 1850, on the wave of industrial opportunity. Aged about 13, he was apprenticed to Thomas Tweedy in his carving workshops, simultaneously studying art and design at the 'Government school' in Newcastle, and attending evening classes at the Life School under William Bell Scott. At the age of 14 he was awarded a bronze medal by government's Department of Art and Science.

After concluding his apprenticeship, Hedley established a successful woodcarving business, whilst also producing lithographs for the local press and taking every opportunity to work as an artist. He had the first of many paintings accepted for exhibition at the Royal Academy in 1879. Joining with Henry Hetherington Emmerson and Robert Jobling, they founded the Bewick Club which encouraged and exhibited the work of the local artists of the North East, staging the first exhibition in 1884. More on Ralph Hedley




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01 Painting, Streets of Paris, by the artists of the time, Part 54 - With Footnotes

Victor Guerrier, 1893 Lyon - 1968
YOUNG WOMAN AT THE FLOWER MARKET
Oil on canvas. 
73 x 100 cm.
Private collection

The young elegant lady in three-quarter portrait on the waterfront of the Seine in Paris in front of the flower market. She wears a fashionable, black and gray dress, a wide-brimmed black hat with a white, over-the-shoulder cloth and her hands are hidden in a fur muff, on the edge of a small fresh bouquet of flowers can be seen. With her delicate face, the red mouth, the earrings, her red-brown hair and her big eyes, she looks directly at the viewer of the painting. On the right side you can see the flower market with an elegant gentleman buying a bouquet. Behind the young woman, the already autumnal green-brown colored trees at the edge of the promenade, which point to the cool season. More on this painting


Victor Guerrier, (French, 1893-1968)  was born and trained in Lyon living much of his life at Saint Cyr au Mont d’Or. He began his career as an illustrator but made his name painting Belle Epoque subjects and Parisian life between the wars. 

Clearly inspired by the work of Impressionist masters such Manet and Toulouse-Lautrec his work captures and celebrates the diversity of life in Paris at the turn of the century; from the nightclubs of Montmartre to the cafés of the Champ-Elysses, Guerrier depicts French high society in its pomp. There is often a subtle narrative to the work, where a stolen glance speaks volumes. Further evidence of Manet’s work is evident in his figures, who often stare directly at the viewer, creating images that are, at once, engaging and arresting, while the fashions of the age are beautifully rendered with a vivid palette and deftly applied impasto. 

Guerrier also worked in the Alps and Algeria producing a number of Orientalist subjects along with a series of paintings in St Paul de Vence. He exhibited at the Salon de Printemps. More on Victor Guerrier




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02 Paintings, MIDDLE EASTERN ART, With Footnotes - 19

Hamed Owais (Egypt, 1919-2011)
The Harvest (Al-Hasadh), c. 2009
Oil on canvas, framed
40 x 54cm (15 3/4 x 21 1/4in).
Private collection

Mohammed Hamed Owais was born in 1919 into a peasant family in the small village of Kafr Mansour in the governorate of Beni Soueif, Egypt. There, he received his primary and secondary education before working as a metalworker. He moved to Cairo, where he joined the School of Fine Arts. After he graduated in 1944, he pursued his studies at the Institute of Art Education in Cairo. He received his diploma in 1946 and in the following year, he founded the Group of Modern Art, together with other artists of his generation.

From 1948 to 1955, Owais worked as a drawing teacher in the Farouk Ist Secondary School in Alexandria. He traveled to Italy in 1952 and visited the Venice Biennial. He was appointed a professor at the Faculty of Fine Arts in Alexandria just after it was founded. In 1967, Owais received a scholarship to continue his studies at the Royal Academy of Fine Arts of San Fernando in Madrid. From 1977 to 1979, he served as the head of the Faculty of Fine Arts in Alexandria. He died in Cairo in 2011, at the age of ninety-two.


Hamed Owais, 1919-2011, EGYPTIAN
AL HOD HOD (THE HOPOOE BIRD), c. 1998
Oil on wood panel
80.8 by 65.8cm.; 31¾ by 25 7/8 in
Private collection

Hamed Owais is one of the leading Social Realist painters in Egypt. His work embodies the struggle of the people of the Egyptian working class. He was one of the first Egyptian artists to address the question of unemployment and the everyday life of Egyptian laborers in the 1940's and 1950's. Owais was a partisan of the ideals of the 1952 revolution, which he expressed in his works. He admired the European modernists and found affinity with Mexican Social Realists.

His peasants or fishermen are massive and muscular. Their large bodies often seem to be enclosed in the reduced space of the canvas that appears as a metaphor of the social boundaries of the Egyptian society. Although Owais is commonly associated with the socialist ideology of the Gamal Abdel Nasser era, his original style and work overall reflect his humanist character. More on Mohammed Hamed Owais





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Friday, June 21, 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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