01 Painting, MIDDLE EASTERN ART, Inji Efflatoun's FELOUKAS ON THE NILE, with Footnotes - 23

Inji Efflatoun, 1924 - 1989, EGYPTIAN
UNTITLED (FELOUKAS ON THE NILE), c. 1968
Oil on canvas
60.2 by 73.5cm.; 23 3/4 by 29in.
Private collection

A felucca is a traditional wooden sailing boat used in protected waters of the Red Sea and eastern Mediterranean, in Egypt and Sudan (particularly along the Nile), including Malta and Tunisia, and also in Iraq. Its rig consists of one or two lateen sails.

The crew consists of two or three people. Despite the availability of motorboats and ferries, feluccas are still in active use as a means of transport in Nile-adjacent cities like Aswan or Luxor. They are especially popular among tourists who can enjoy a quieter and calmer mood than motorboats have to offer. More on felucca

Inji Aflatoun was an Egyptian painter and activist in the women's movement. She was a "leading spokeswoman for the Marxist-progressive-nationalist-feminist movement 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. 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.

 In 1942, she joined Iskra, a Communist youth party. After graduating from the Fuad I University in Cairo, she was, with Latifa al-Zayyat, a founding member in 1945 of the Rabitat Fatayat at jami'a wa al ma' ahid (League of University and Institutes' Young Women).

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.[6] 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. More on Inji Aflatoun

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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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

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, And visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

9 Works at the Contemporary Art / Doha. Abdelaziz Gorgi, Abdulnasser Gharem, Inji Aflatoun, Kour Pour, Mahjoub Ben Bella, Monir Farmanfarmaian, Nabil Nahas, Nejib Belkhodja,

Inji Aflatoun

1924 - 1989

L'OR BLANC (WHITE GOLD)

signed and dated 63; signed and titled on the stretcher

oil on canvas 

66.5 by 79.5cm.; 26 1/8 by 31 1/4 in.

More

Abdelaziz Gorgi

1928-2008

JOUEURS DE CHKOBA; VEILLÉE DU RAMADAN (CHKOBA PLAYERS; EVE OF RAMADAN)

signed

acrylic, gold leaf, ink and pen on paper

76 by 55cm.; 29 7/8 by 21 3/4 in.

Executed circa 1960-1969. 

More

Mahjoub Ben Bella

B. 1946

UNTITLED 

signed

oil on canvas 

133 by 95cm.; 52 1/4 by 37 1/2 in.

Executed in 1987

More

Rachid Koraïchi

B.1947

NEDJMA (THE FOUR SEASONS) 

hand woven and embroidery silk, in four parts 

Each: 304 by 152 by 7cm.; 119 3/4 by 59 7/8 by 2 3/4 in.

Executed in 2009.

More

Nabil Nahas

B. 1949

COLOR BLIND

signed, titled, and dated 1998 on the reverse

acrylic on canvas

121.9 by 121.9 by 8.9 cm.; 48 by 48 by 3 1/2 in.

More

Nejib Belkhodja

1933 - 2007

MEDINA ENTRE DEUX ORAGES (MEDINA BETWEEN TWO STORMS)

signed and titled on the reverse 

acrylic on canvas

96.5 by 194cm.; 38 by 76 1/4 in.

Executed circa 1982.

More

Kour Pour

B. 1987

LOVE CHILD 

signed and dated 2010 on the reverse of each panel

acrylic on canvas, in eight parts

Overall: 122 by 183cm.; 48 by 72 in.

More

Abdulnasser Gharem

B.1973

MEN AT WORK (TIME MAGAZINE PERSON OF THE YEAR 2003: THE AMERICAN SOLDIER) 

ink and lacquer paint on rubber stamps and board, in four parts 

Overall: 160 by 200cm.; 63 by 78 3/4 in.

Executed in 2011.

More

Monir Farmanfarmaian

B. 1924

A NEW SPRING 

signed and dated 2007 twice on the reverse 

mirror, reverse-glass painting and plaster on wood 

93.5 by 122.5cm.; 36 1/2 by 48 1/4 in.

More

01 Painting, MIDDLE EASTERN ART, Inji Aflatoun's L'OR BLANC, With Footnotes - 35

Inji Aflatoun, 1924 - 1989

L'OR BLANC (WHITE GOLD), c, 1963

Oil on canvas 

66.5 by 79.5cm.; 26 1/8 by 31 1/4 in.
Private collection

The current work -  “L’or Blanc,” which translates to White Gold is a unique phrase coined by the Egyptian fellah (peasant) to cotton. As it was the most common commodity traded on the Egyptian stock market. More on this painting

Inji Aflatoun (16 April 1924 - 17 April 1989) was an Egyptian painter and activist in the women's movement. She was a "leading spokeswoman for the Marxist-progressive-nationalist-feminist movement 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 introduced her to surrealist and cubist aesthetics. She stopped painting from 1946 to 1948. 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.

She was arrested and secretly imprisoned during Nasser's roundup of communists in 1959, then release in 1963.

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. 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

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.