Art Blog

01 Painting, African Artists, Art of War, Oussama Diabs Theatre, Gaza, with Footnotes

Oussama Diab, Palestinian, b. 1977

Theatre, Gaza, c. 2024

Mixed media on canvas

130 × 100 in | 330.2 × 254 cm

On sale for US$4,600 in May 2024

Born in 1977, in Damascus, Oussama Diab is a Palestinian contemporary artist based in Lebanon. He graduated from the Faculty of Fine Arts in Damascus in 2002. Diab has worked through various painting styles, often combining different forms and techniques in a single composition.

His early works amassed paintings in a neo-expressionist style resonating with the tense ridicule language surrounding famed Jean Michel Basquiat's works. Onto large-scale canvases full of dispersed drawings and thick layers of paint in intense colors, the artist embraced iconography and primitivism with a flair of pop art. Diab re-appropriated Leonardo da Vinci's sixteenth-century Mona Lisa, for instance, adopting a Pop art approach – specifically by reintroducing identifiable imagery. Diab would add props and signs into his paintings, making them more relatable to the Palestinian experience. In this case, he would envelop Mona Lisa's face with a kufiyah, or at times she would hold a Kalashnikov.

In recent years, Diab applied the deconstructed figuration of Cubism to his archetypal characters painted in fresh pastel colors. He portrayed figures with intersecting planes that collide as rigid bodies, mirroring the surrounding environment. In reaction to the turmoil in the Arab world and the fragmented state of society forged by political conflicts and migration, Diab depicts fractured bodies within empty, isolated settings. In his neo-cubist paintings, a couple found in his previous works, become the center of attraction. The artist sets his characters against decorative and ornamental backgrounds that seem to extend out of his canvas with no beginning and no end. Although Diab's figurations attain a level of elegance and grace, they possess intense melancholy. More on Oussama Diab

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01 Painting, African Artists, Art of War, Mohamed Abdalla Otaybi's Against Violence, with Footnotes

Mohamed Abdalla Otaybi

Against Violence, c. 2017

Acrylic on canvas

79 * 80 cm

Private collection

Sold for £3,200 in May 2023

Mohamed Abdalla Otaybi was born in 1948 in Dewaim and now lives and works in Omdurman. He is a graphic designer, cartoonist and teacher, and one of the best-known contemporary artists in Sudan. He has had exhibitions in different parts of the world and has been awarded a couple of awards in Kuwait and the Emirates. His use of vivid bright colours and the black outlining of his shapes and figures make his paintings stand out from those of other painters. He has also illustrated two children’s story books, Sudanese Singers and Fatima Sugarcane, which have been published in both Arabic and French. He has participated in numerous exhibitions both personal and collective.

For the past few years, Otaybi has moved on from the theories of the School of Khartoum and Madrasat Al-Wahid. In particular, he has turned towards a view of art that is more global. This does not mean that he has abandoned the use of the aesthetic heritage of the Sudan as a starting point for his work. Rather, he is seeking to create art that demonstrates local culture but that can also communicate with the rest of the world.

Otaybi has exhibited nationally and internationally, and has received a number of prestigious awards, including the 1981 Kuwaiti Golden Sail Award, a prize at the 1993 Sharjah Biennial and the Gold Medal at the 2003 Cairo Biennale. More on Mohamed Abdalla Otaybi

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01 Work, The Art of War, Henry Zaidan's Days later Alma is still in her cell, with footnotes

Henry Zaidan

Days later Alma is still in her cell

AI Generated

DeviantArt

Alma, The Middle Eastern Warrior, languishes in her cell, days after she was captured trying to take back the supplies stolen from her people!

Alma was by far the most distinguished of women because of her many superior qualities, especially because of the bravery she demonstrated in defense of her people.

Islam elevated the status of women, treating them on an equal footing with a man. Women had a newfound independent identity, in the physical and spiritual spheres.

Islamic history is full of warrior women who fiercely fought for what they believed in, defended what they cherished, and defied all expectations and became legends.

The Warrior Woman is an ancient archetype that is not well known because the stories have been both forgotten and suppressed. Mythology is full of warrior goddesses.

Traditionally, the Bedouin were among the most dangerous of desert tribes, fighting among themselves when outsiders weren’t available. Constantly on the move to find new pastures for their livestock, they learned to live with the minimum of possessions and little external support in the harshest of lands. Loyalty to tribe and family was all that helped a warrior survive. More on Desert Warriors

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01 Work, The Art of War, Henry Zaidan's Pre-Raphaelite Alma in the Dungeon, with footnotes

Pre-Raphaelite style

Alma in the Dungeon

AI Generated

playground

A still photo, Pre-Raphaelite style painting of an elegant, slender Arabian warrior woman with flowing dark red hair, clad in delicately ornate yet scant Arab armor, revealing mud-spattered legs, arms, and midriff beneath a veneer of battle weariness, positioned gracefully on the stone floor of a dimly lit, medieval dungeon cell, her curvaceous form bathed in a sliver of light from a small, barred window, camera lens capturing the raw emotional intensity, portrait lens effect, natural light emphasis, shallow depth of field to accentuate the poignant solitude

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01 Work, The Art of War, Eugenio Lucas Velázquez's The Ambush, with footnotes

Eugenio Lucas Velázquez (1817–1870)

The Ambush, c.1850–1870

Oil on metal

H 35.5 x W 50.8 cm

Birmingham Museums Trust

The theme of travellers waylaid by bandits was a common one in the eighteenth and early nineteenth century painting as the Napoleonic wars brought chaos and lawlessness to many parts of Europe. Criminals, deserters and the remnants of defeated armies often turned to highway robbery as the social order collapsed. More on this painting

Eugenio Lucas Velázquez was a Spanish Romantic artist who best understood the art of Goya.

He began training as a student of the San Fernando Academy. However, dissatisfied with the cold classicism taught at the academy, he preferred to study the great geniuses of Spanish painting first-hand and often went to the Museo del Prado to copy Velázquez and, above all, Goya, whose painting would leave a lasting mark on his style and artistic personality.

In 1850 he painted the ceiling, no longer extant, of the opera house in Madrid and Queen Isabella II later appointed him honorary court painter and a knight of the order of Charles III.

Married since 1844, Lucas Velázquez separated from his wife in 1853 and the following year went to live with Francisca Villaamil, by whom he had four children. One of them, Eugenio Lucas Villaamil (1858–1918), followed – albeit with less talent and a considerably more eclectic personality – his father’s footsteps in both profession and style, and their works are sometimes confused with each other.

He died in Madrid on 11 September 1870. More on Eugenio Lucas Velázquez

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01 Work, Middle East Artists, LAILA SHAWA's THE SOUK IN GAZA, with footnotes

Laila Shawa, b. 1940, Palestinian

THE SOUK IN GAZA, c. 1965

Oil on canvas laid on board

48.5 by 70.5cm. 19 by 27½in.

Private collection

Sold for 12,600 GBP in October 2020

This canvas by internationally acclaimed artist, Laila Shawa is of considerable historical significance within her artistic oeuvre. ‘The Souk’ was part of Shawa’s first solo exhibition in Gaza in 1965 entitled ‘Contrast and Contradictions’ – one year after her graduation from the Academy of Fine Art in Rome. Thereafter, it was to become part of the collection of Rashad Shawa, the Mayor of Gaza and also the artist’s father. It remained there, in Gaza, until the house was destroyed but was salvaged and relocated to Bethlehem. More on this painting

Laila Shawa (Born Gaza 1940) graduated summa cum laude in Fine Arts from the Italian Accademia di Belle Arti in 1964 and received a diploma in plastic arts from the Accademia San Giacomo in Rome. From 1965 to 1967, she returned to Gaza to teach arts and crafts to underprivileged children. She now lives and works in London. As a Palestinian artist, Shawa’s concern is to reflect the political realities of her country, becoming, in the process, a chronicler of events. Her work is based on a heightened sense of realism and targets injustice and persecution wherever their roots may be.

Her work has been exhibited in Italy, Germany, Austria, and the United Kingdom, in most Arab countries, North Africa, Iraq, Russia, China, Japan, Malaysia and USA. She is represented in public and private collections across the world, including the National Galleries of Jordan and Malaysia, the Ashmolean Museum, Oxford, the British Museum in London and the National Museum for Women in the Arts, Washington D.C. Her work is currently on tour in Brazil, in the Centro Cultural Banco do Brazil’s exhibition Isla, the first major exhibition of Islamic Art in Brazil. More on Laila Shawwa

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01 Work, The Art of War, After the Execution (Après l'exécution), cover of Le Mot, vol. 1, no. 5, January 9, 1915, with footnotes

Paul Iribe (French, Angoulême 1883–1935 Roquebrune-Cap-Martin)

After the Execution (Après l'exécution)

cover of Le Mot, vol. 1, no. 5, January 9, 1915

Color woodcut and letterpress

16 7/16 x 11 x 3/16 in. (41.8 x 28 x 0.5 cm)

The Metropolitan Museum of Art

Le Mot, a wartime French literary and artistic journal published by Jean Cocteau and Paul Iribe, was characterized by a restrained modernism and a fiercely nationalistic, anti-German perspective. This cover shows a German officer with a smoking gun, his face distorted as he screams at and hovers over the body of a young boy he has killed. Subtitled "an era without pity," the work refers to heinous acts committed by the German army as they invaded Belgium—a neutral country—and northern France in August 1914. Reports of the brutal treatment of noncombatants (such as mass executions that included women, small children, and the elderly) and damage to towns and cultural centers shocked the public, leading to a characterization, particularly within France, of the German soldiers as destructive and uncivilized "huns" particularly within wartime propaganda. More on this work

Paul Iribe was born in Angoulême, France, in 1883. He started his career as a newspaper typographer and illustrator at various Parisians magazines and daily papers, such as Le temps. In 1906 Iribe took part in the establishment of the satirical journal Le témoin. The publication of his illustrations in this journal attracted the attention of fashion designer Paul Poiret, who commissioned illustrations to go with his first dress collection in 1908 immediately. A portfolio under the name Les robes de Paul Poiret racontées par Paul Iribe was published after this in a limited edition of 250 copies.

The portfolio was innovative because of a use of bright, fauvist colours, together with simplified lines and incorporation of Japanese prints. The publication was partially the cause of a revival of the fashion plate in a mordenist style, as a reflection of the new, streamlined silhouette in fashion. In 1911 Iribe was hired by Jeanne Parquin to create a similar portfolio, L'Eventail et la fourrure chez Parquin. Later Iribe became even more involved in fashion an started to design theater interiors, other interiors and jewelry. After a period of residence in New York, Iribe moved back to France where he was awarded La Légion d'honneur in 1933. In 1935, Iribe sadly died of a heart attack in Chanel's villa. More on Paul Iribe

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01 Work, The Art of War, Migita Toshihide's The Fall of Pyongyang, with footnotes

Migita Toshihide (Japanese, 1863–1925)

The Fall of Pyongyang, c. 1894

from a series on the Sino-Japanese War

Set of six woodblock prints; ink and color on paper

(each): 13 1/2 × 9 1/8 in. (34.3 × 23.2 cm)

The Metropolitan Museum of Art

Amid the smoke of battle, Japanese troops encircle panicked Chinese soldiers in this panoramic view of the conquest of the Korean city of Pyongyang during the first Sino-Japanese War (1894–95). This propagandistic image, aimed at a domestic Japanese audience and saturated with racist overtones, draws a contrast between the Japanese participants’ modern, Western-style uniforms and the traditional attire of the Chinese fighters. In one passage, a Japanese soldier grabs a Chinese counterpart by his braid while raising a sword in his other hand. Countless Korean civilians and tens of thousands of Chinese and Japanese troops lost their lives in the war. More on this painting

Renowned artist Toshihide Migita was born in 1863 in Oita-ken, Shizuoka Province. At the age of 17, he delved into Western-style painting and became a pupil of the esteemed Meiji woodblock artist Yoshitoshi (Taiso) Tsukioka.

Toshihide Migita was prolific both as a painter and a woodblock printmaker, specializing in traditional ukiyo-e style. He gained prominence for his extensive collection of war prints (senso-e) depicting the Sino-Japanese and Russo-Japanese wars. His war prints, mostly triptychs, are considered among the finest in this genre, paralleling the quality of Kiyochika Kobayashi (1847-1915).

His repertoire extended to actor prints (Danjuro) and a limited series of bijin-e (images of beautiful women). Engaging in woodblock printmaking during the late Meiji period, Migita also contributed to kuchi-e illustrations. Additionally, he served as a mentor to numerous Taisho and Showa era artists, including Terukata Gyokudo (Ikeda) (1883-1921), Shoen Ikeda (1886-1917), Kiyokata Kaburagi (1878-1972), and Eiho Hirezaki (1881-1968).

Toshihide Migita passed away in 1925. More on Toshihide Migita

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01 Work, The Art of War, Chikanobu Yôshû's Japanese Fleet Landing Weiheiwei, with footnotes

Chikanobu Yôshû (1838-1912)

Japanese Fleet Landing Weiheiwei, c. 1895

Series: Sino-Japanese War

Japanese Woodblock Print

ôban triptych, 71.8 x 35.5 cm

Private collection

The Battle of Weihaiwei took place between 20 January and 12 February 1895, during the First Sino-Japanese War in Weihai, Shandong Province, China, between the forces of Japan and Qing China. In early January 1895, the Japanese landed forces in eastern Shandong positioning forces behind the Chinese naval base at Weihaiwei.

Through a well-coordinated offensive of both naval and land forces, the Japanese destroyed the forts and sank much of the Chinese fleet. With the Shandong and Liaoning peninsulas under Japanese control, the option for a pincer attack against the Chinese capital, Beijing, was now a possibility. This strategic threat forced the Chinese to sue for peace and led to the war's end in April 1895. The Battle of Weihaiwei

Chikanobu Toyohara (also known as Chikanobu Yoshu) was a leading woodblock print artist of the Meiji Period. Born in Niigata prefecture as Naoyoshi Hashimoto, Chikanobu began his life as the son of samurai in the service of the Sakakibara clan. During the Meiji Restoration, he joined the shogitai, an elite samurai brigade in direct support of the waning Tokugawa Shogunate and fought bravely in the Battle of Ueno in 1868. Though captured in the fray, he was released unharmed. As the Shogunate fell, Chikanobu focused on a career in art.

Though trained in Kano school painting from an early age, Chikanobu shifted his attention to ukiyo-e around 1852. Chikanobu began his woodblock printmaking career under the tutelage of Utagawa School masters Kuniyoshi, Kunisada and Kunichika. Like many of his contemporaries, Chikanobu Toyohara worked as a newspaper illustrator as well as a print artist. By 1871, he had established himself as a leading print artist. He designed across all genres, from kabuki actors and beauties to military exploits of past and present. During the 1870s, Chikanobu captured Meiji Japan’s rapid modernization through kaika-e, or “enlightenment pictures.” Attuned to current events and public taste, he produced designs of both the 1877 Satsuma Rebellion, an ill-fated insurrection against the Meiji government, and well as the 1882 Imo Incident in Korea. Chikanobu’s reflected his changing world not only through his subject matter, but also in his materials. Incorporating the purples and reds of imported aniline dyes, he achieved an element of subtlety and sophistication rarely seen in his era. By the 1880s, a wave of national nostalgia for a Japan past prompted designs exploring traditional Japanese culture, values, and heroes. Through explorations of female beauty, Chikanobu Toyohara personified moments in Japanese history through fashion, manners and customs. In 1912, he died of stomach cancer. More on Chikanobu Toyohara

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01 Work, The Art of War, Charging Warrior, with footnotes

Henry Zaidan

Arab warrior Charging

AI with Deviantart

Due to religious dictates it is very difficult to find classical Islamic art portraying people! To tell the story I have decided to try and make my own through AI. I hope I will eventually get it right! Thanks for your patience.

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01 Work, The Art of War, Frank McCarthy's Charging Warrior, with footnotes

Frank McCarthy

Charging Warrior

Oil on panel

9 x 12

Private collection

Estimated for $5,000 USD - $7,000 USD in April 2024

Carrying a lance, a Northern Plains warrior charges across to battle a challenger. He carries into this fight his personal medicine, given him in a long-ago vision quest by some guardian spirit.

Frank McCarthy (March 30, 1924 – November 17, 2002) was an American artist and realist painter known for advertisements, magazine artwork, paperback covers, film posters, and paintings of the American West.

Born in New York City, he studied under George Bridgman and Reginald Marsh at the Art Students League of New York then attended the Pratt Institute in Brooklyn.

McCarthy began his art career as a commercial illustrator, opening his own studio in 1948. He did illustrations for most of the paperback book publishers, magazines, including Colliers, Argosy, and True, movie companies, and advertisements.

McCarthy left the commercial art world in 1968 in order to concentrate on Western paintings. In 1975 he was invited to join the Cowboy Artists of America. His 1972 painting "The Last Crossing" was used by The Marshall Tucker Band in 1976 for the cover of their fifth studio album, Long Hard Ride. He was inducted into the Society of Illustrators Hall of Fame in 1997. More on Frank McCarthy

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01 Work, The Art of War, Wissam al-Jazairy's Scream, with footnotes

Wissam al-Jazairy

Scream

Mixed media on canvas

100x120 am

Private collection

The Scream is a composition originally created by Norwegian artist Edvard Munch in 1893. The Norwegian name of the piece is Skrik, and the German title under which it was first exhibited is Der Schrei der Natur (The Scream of Nature). The agonized face in the painting has become one of the most iconic images in art, seen as symbolizing the anxiety of the human condition. Munch's work, including The Scream, had a formative influence on the Expressionist movement. More on this painting

Wissam al-Jazairy is a young artist who was born in Midan, Damascus in 1990. He began his study of graphic design at the University of New Bulgaria in 2008, and graduated in 2011

The paintings of al-Jazairy reflect the story of an artists who merged into the pain of his people, and constantly tries to represent the oppressed, marginalized and detainees, so their voices can be heard. Consequently, he participated in several exhibitions in America, Egypt, Britain and Jordan, Lebanon, Turkey, Kuwait, Germany, Italy, Denmark and Switzerland to support the peaceful democratic movement in Syria. while in Syria, a number of his works have been transformed into graffiti, sprayed by Syrians onto the walls of their cities, including the city of Saraqeb, Idlib.

In the midst of war, Wissam never forgot about hope and love. In one painting, love symbols are flying out of the houses of the city, it’s like the souls of lovers are defying air raids and missiles. In another painting and in response to the cover of The Economist, which portrayed the name of Syria colored black while fading and demolishing gradually by self-destruction, the young artist completed the picture by adding Syrians rebuilding their homeland’s name with new shiny colors.

“I dream of a free, independent and democratic Syria, where citizenship and justice are the basis of governance, and peace is the spoken language”. More on Wissam al-Jazairy

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01 Work, The Art of War, Khawla bint al-Azwar, Arab Muslim warrior in the service of the Rashidun Caliphate, with footnotes

Henry Zaidan

Khawla bint al-Azwar, c. 2024

AI Image with Deviant Art

The Rashidun Caliphate was the first caliphate to succeed the Islamic prophet Muhammad. It was ruled by the first four successive caliphs of Muhammad after his death in 632 CE. During its existence, the empire was the most powerful economic, cultural, and military force in West Asia and Northeast Africa. More on The Rashidun Caliphate

Khawla bint al-Azwar (died 639), was an Arab Muslim warrior in the service of the Rashidun Caliphate. She played a major role in the Muslim conquest of the Levant, and fought alongside her brother Dhiraar. She has been described as one of the greatest female soldiers in history. She was a companion of the Prophet Muhammad.

Born sometime in the seventh century as the daughter of Azwar al Asadi, one of the chiefs of the Banu Assad tribe, Khawlah was well known for her bravery in campaigns of the Muslim conquests in parts of the Levant. She fought side by side with her brother Dhiraar in many battles, including the decisive Battle of Yarmouk in 636 against the Byzantine Empire. On the 4th day of the battle she led a group of women against the Byzantine army and defeated its chief commander, and later was wounded during her fight with a Greek soldier. More on Khawla bint al-Azwar

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