Wednesday, February 27, 2019
Tuesday, February 26, 2019
The Marsh Arabs, also known as the Maʻdān (Arabic: معدان), are inhabitants of the Tigris-Euphrates marshlands in the south and east of Iraq and along the Iranian border. Comprising members of many different tribes and tribal confederations that had developed a unique culture centered on the marshes' natural resources. Many of the marshes' inhabitants were displaced when the wetlands were drained during and after the 1991 uprisings in Iraq.
Madan means "dweller in the plains (ʻadan)" and was used disparagingly by desert tribes to refer to those inhabiting the Iraqi river basins. There was a considerable historic prejudice against the Maʻdān, partly as they were considered to have Persian or Indian origin by the sunni Iraqi people, even though there are %100 Arabs, and mostly because of they refused to bow to the sunni dictatorship. More
Born in Baghdad in 1939, Dia Azzawi started his artistic career in 1964, after graduating from the Institute of Fine Arts in Baghdad and completing a degree in archaeology from Baghdad University in 1962.
In 1969, Azzawi (with Rafa Nasiri, Mohammad Muhriddin, Ismail Fattah, Hachem al-Samarchi and Saleh al Jumaie) formed the New Vision group (al-Ru’yya al-Jadidah), uniting fellow artists ideologically and culturally as opposed to stylistically. Through his involvement with the New Vision group Azzawi found inspiration in contemporary subjects and issues, particularly the plight of the Palestinians. He was also briefly a member of Shakir Hassan Al Said’s One Dimension group (Jama’t al-Bu’d al-Wahid).
From 1968 to 1976, Azzawi was the director of the Iraqi Antiquities Department in Baghdad. He has lived in London since 1976, where he served as art advisor to the city’s Iraqi Cultural Centre, from 1977 to 1980. Azzawi’s move to London led him to rediscover book art (dafatir), an art form that he has encouraged other artists from Iraq and the region to explore.
With exhibitions of his work have been held in international, private and public collections including the Museums of Modern Art in Baghdad, Damascus and Tunis; Jordan National Gallery of Fine Arts, Amman; Mathaf: Arab Museum of Modern Art, Doha; Barjeel Art Foundation, Sharjah; Kinda Foundation, Saudi Arabia; Una Foundation, Casablanca; Arab Monetary Fund, Abu Dhabi; Development Fund, Kuwait; Jeddah International Airport; British Museum, Tate Modern, and Victoria and Albert Museum, London; Institut du Monde Arabe, Bibliothèque Nationale de France and Colas Foundation, Paris; Harba Collection, Iraq and Italy; Gulbenkian Collection, Barcelona; and Library of Congress and the World Bank, Washington, DC. More on Dia Azzawi
Monday, February 25, 2019
Wednesday, February 6, 2019
Saturday, February 2, 2019
He painted genre works, portraits, local figures, architectural subjects, interiors with figures and animals. But he is best known for his orientalist paintings.
He was sent to Paris under the patronage of King Otto of Greece and studied under Jean-Léon Gérôme, and under Jean-Jules-Antoine Lecomte du Nouy, both known for their orientalist paintings.
Ralli then travelled widely in North Africa and the Middle East, settling for a while in Cairo, Egypt. Here he found his inspiration for the romantic mysticism and suggestive sensuality of his many orientalistic paintings. His paintings were elaborated with great attention to detail, with great attention to costumes and facial expressions.
Rallis first exhibition was at the Salon in 1875. From 1879 he regularly exhibited at the Royal Academy in London. He was a member of the Société des Artistes Français, where he received an honourable mention in 1885, and a silver medal in 1889 for his whole work He exhibited his paintings in the Salon de Rouen (1897, 1903, 1906 and 1909) and also in Athens during the Olympic Games of 1896. He also served as a member of the competition jury in 1900 at the Exposition Universelle.In 1901 he became a Chevalier of the Légion d’Honneur. More on Theodoros Rallis
01 Painting, The amorous game, Gerard ter Borch the Younger's Woman Playing the Theorbo-Lute and a Cavalier, Part 42 - With Footnotes
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