Anna Boghiguian, B. 1947, EGYPTIAN ALEXANDRIA, JUNE – SEPT. Oil on canvas 50 by 50cm.; 19 5/8 by 19 5/8 in. Private Collection
Alexandria is a Mediterranean port city in Egypt. Founded in c. 331 BC by Alexander the Great, Alexandria grew rapidly and became a major centre of Hellenic civilisation, eventually replacing Memphis, in present-day Greater Cairo, as Egypt’s capital. During the Hellenistic period, it was home to the Lighthouse of Alexandria that ranked among the Seven Wonders of the Ancient World, as well as the storied Library of Alexandria. Today, the library is reincarnated in the disc-shaped, ultramodern Bibliotheca Alexandrina. Its 15th-century seafront Qaitbay Citadel is now a museum. Called the “Bride of the Mediterranean” by locals, Alexandria is a popular tourist destination and an important industrial centre due to its natural gas and oil pipelines from Suez. More on Alexandria…
Adham Wanly (Egyptian, 1908–1959) The singer , c. 1952 Oil on board 45.5 x 59 cm. (17.9 x 23.2 in.) Private Collection
Adham Wanly (1908 in Alexandria, Egypt – 1959) was a painter who learnt in the atelier of the Italian Otorino Becchi 1932, then set up his own atelier with his brother Seif Wanly (above), and participated in many local and international exhibition specially Venice, São Paulo (Brasil), Alexandria Biennale.
The Museum of Modern Art in Alexandria displays many of his paintings. The artist is mostly famous for recording the life of the theater and circus. He specialized in the ballet and opera that is featured in the Cairo Opera House and the Theatre Mohamed Ali in Alexandria. The paintings render the stage lights and movements of the people involved and he is able to express the light and agility in various ways. He had a talent in caricature in which he used in mockery of himself and the people of his time. There is now a museum in his memory. More on Adham Wanly
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Chant Avedissian ICONS OF THE NILE, c. 1991-2010 20.67 X 28.58 in (52.5 X 72.6 cm) Gold and silver acrylic paint, gouache and hand-coloured stencil on cardboard Private collection
Chant Avedissian was born in Cairo, Egypt, in 1951. Coming from Christian Armenian traditions due to his origins, but raised and educated inside the Egyptian culture and schools, he and his work had been always committed to the identity of nations, traditions and culture. His work for the Aga Khan Foundation with celebrated Egyptian architect Hassan Fathy (1900–1989), inspired him to develop a strong interest in traditional art and local materials: all the tracks and tools he follows to understand and get a close look to his own primal identity as a transversal human being…
Shakir Hassan Al-Said, 1925-2004, IRAQI UNTITLED (MAN AND HORSE), c. 1950 Watercolour and pencil on paper 24 by 20cm.; 9 1/2 by 7 7/8 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.
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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Lalla Essaydi (MAROC, NÉE EN 1956) Harem #7, c 2009 Chromogenic print mounted on aluminum with an anti UV laminate 60 × 48 in | 152.4 × 121.9 cm Private collection
“Traditionally, the presence of men defines public spaces: streets, meeting places, you, the workplaces,” writes Essaydi. “Women, on the other hand, have been confined to private spaces, to the architecture of homes. In my photographs, I restrict women to these spaces, their spaces clean, partitioned off by walls and controlled by men” -Lalla Essaydi More on this work
Moroccan born photographer Lalla Essaydi explores Arab female identity by hand-painting Arabic calligraphy in henna on different surfaces such as female bodies, fabric and walls. Through her compositions, Essaydi references nineteenth century Orientalist style and rejects traditional objectified representations of Arab women. The artist critiques French painters such as Jean Auguste Dominique Ingres and Eugène Delacroix who often painted middle-eastern harems filled with eroticized Arab female bodies. Her photographs address and deconstruct the complex power structures imposed on the Arab female body by alluding to historical stereotypes.
In her series Harem, Essaydi refers to the dangerous nature of the harem, contrasting the idealistic setting that Western artists previously depicted. The artist places her figures within the Moroccan Palace Dar El Basha and dresses them in patterns similar to the palace’s mosaics, wood carvings and stained glass. By camouflaging the women’s bodies into the background, Essaydi illustrates how women seemingly appear as another piece of décor in the room. To counter societal norms, Essaydi utilizes calligraphy and applies henna to adorn the female bodies. The text is not necessarily meant to be read or understood, but rather alludes symbolically to the restrictions faced by women in today’s societies and how they find their voice despite all imposed restrictions. Through the perspective of an Arab woman living in a Western world, Lalla Essaydi redefines Arab female identity. More on Lalla Essaydi
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Shakir Hassan Al-Said, 1925-2004, IRAQI UNTITLED (TOWN), c. 1951 Watercolour and pencil on paper i) 24 by 20cm.; 9 1/2 by 7 7/8 in. ii) 29 by 21.5cm.; 11 1/2 by 8 1/4 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.
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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Louai Kayyali, 1934-1978, SYRIAN Then What, c. 1965 190 x 172 cm Oil on wood, 1965 Private collection
In Kayyali’s work eleven figures (seven women, two boys and one man) are crowded together as though walking in unison. With most of their gazes turned away from the viewer, they are lost in the suggested horror of their surroundings as several peer up at an invisible, looming force. In the center of the canvas is a man whose features are distorted as the artist has rendered his face with quick brush marks and few details.
Louai Kayyali, 1934-1978, SYRIAN Then What, c. 1965 Detail
Hunched over and overpowered by an incomprehensible weight, he seems to carry the burden of mankind. His arched back, angular chin and hidden face resemble Masaccio’s Adam in “The Expulsion from Paradise” (1427). Behind him stands a female figure in profile, her head stretched far into the sky, as she beckons the heavens for reprieve and reflects the inescapable posture of a body that is overrun by grief. Kayyali has painted her face in a near identical rendering of Eve in the above-mentioned fresco, as he simply rearranged the central figures of Masaccio’s composition. More on this painting
Louay Kayali, (1934–1978) was a Syrian modern artist. Kayali was born in Aleppo, Syria in 1934 and studied art in the Accademia di Belle Arti after having studied at the Al-Tajhiz School where his work was first exhibited in 1952. He met Syrian artist Wahbi Al-Hariri there and the two would share a friendship for the rest of Kayali’s life. Al-Hariri would become his mentor as he was for artist Fateh Moudarres that Hariri introduced to Kayali in 1955. Moudarress and Kayali would together represent Syrian modern art at the Venice Biennial Fair. He suffered from depression and died in 1978 from burns incurred from his bed catching fire, reportedly from a cigarette. More on Louay Kayali
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Safwan Dahoul, B. 1961, SYRIAN UNTITLED, c. 1992 Oil and gold leaf on wood 25 by 20cm.; 9 7/8 by 7 7/8 in Private collection
Safwan Dahoul was born in 1961 in Hama, Syria, Dahoul was initially trained by leading modernists at the Faculty of Fine Arts, University of Damascus before travelling to Belgium, where he earned a doctorate from the Higher Institute of Plastic Arts in Mons. Upon returning to Syria, he began teaching at the Faculty of Fine Arts and was a prominent member of the Damascus art scene. In the span of a decade, Dahoul nurtured a new generation of artists as an active mentor whose evolving aesthetic often ignited new directions in painting. Given the trajectory and status of his painting style, Dahoul’s career is regarded as a crucial link between modern and contemporary Arab art. More on Safwan Dahoul
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Louay Kayyali (Syrian, 1934-1978) Maaloula, c. 1963 Oil on canvas 29¼ x 36in. (75 x 94.5cm.) Private collection
Maaloula is one of the main subjects in Kayyali’s oeuvre; the present work is painted only two years after the artist graduated from the Accademia di Belle Arti and it is one of the finest portrayals of this mountainous Aramaic town. All elements are intricately balanced, orchestrated by his ability in articulating the subtleties of line and perspective of the holy city’s mountain and its sheltering village and soothing skies.
The village of Maaloula is located to the northeast of Damascus and built into the rugged mountainside, with a population of just a few hundred. Maaloula, from the Aramaic word ma’la meaning “entrance”, is the only place where the western dialect of Aramaic, the language of Jesus Christ, is still spoken. It is home to two important monasteries, Mar Sarkis and Mar Taqla…
Adham Wanly, 1908-1959, EGYPTIAN CHEVEAUX HONGROIS AU CIRQUE (HUNGARIAN HORSES AT THE CIRCUS), c. 1953 Oil on panel 53 by 74cm.; 20 7/8 by 29 1/8 in. Private collection
I couldn’t find the horse either! Adham Wanly (1908 in Alexandria, Egypt – 1959) was a painter who learnt in the atelier of the Italian Otorino Becchi 1932, then set up his own atelier with his brother Seif Wanly (above), and participated in many local and international exhibition specially Venice, São Paulo (Brasil), Alexandria Biennale.
The Museum of Modern Art in Alexandria displays many of his paintings. The artist is mostly famous for recording the life of the theater and circus. He specialized in the ballet and opera that is featured in the Cairo Opera House and the Theatre Mohamed Ali in Alexandria. The paintings render the stage lights and movements of the people involved and he is able to express the light and agility in various ways. He had a talent in caricature in which he used in mockery of himself and the people of his time. There is now a museum in his memory. More on Adham Wanly
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Louai Kayyali, 1934-1978, SYRIAN The match Seller, c. 1974 Oil on masonite 90 by 80cm Private Collection
Louay Kayali, (1934–1978) was a Syrian modern artist. Kayali was born in Aleppo, Syria in 1934 and studied art in the Accademia di Belle Arti after having studied at the Al-Tajhiz School where his work was first exhibited in 1952. He met Syrian artist Wahbi Al-Hariri there and the two would share a friendship for the rest of Kayali’s life. Al-Hariri would become his mentor as he was for artist Fateh Moudarres that Hariri introduced to Kayali in 1955. Moudarress and Kayali would together represent Syrian modern art at the Venice Biennial Fair. He suffered from depression and died in 1978 from burns incurred from his bed catching fire, reportedly from a cigarette. More on Louay Kayali
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Easam Darawshi, Palestinian, b. 1984 Expressive Portrait #2, c. 2021 Acrylic on canvas 78 7/10 × 41 3/10 in, 200 × 105 cm Private collection
Essam Darawshi was born in Nazareth in 1984. He studied Physiotherapy at the Faculty of Medicine at Genoa University, Italy. In 2010, Easam enrolled in the Academy of Arts at the University of Genoa where he began his journey as an artist, driven by his passion, focusing on the Arabic Calligraphy as a form of contemporary art.
In 2013, Easam went back to his hometown where he started working on figurative and expressionist artworks influenced by graffiti, murals, and street art. His portraits do not capture the external figure of a subject, they rather serve as a portal for a journey of self-exploration and an attempt to experience a variety of forms and search for identity. Easam believes that facial expressions cannot be captured in a single moment or form hence his canvases reflect the complexity of emotions surrounding identity; one’s relationship to the surrounding environment and contradicting feelings of belonging. Easam’s work is deeply influenced by social conflict and psychological paradoxes of present-day life. He uses different techniques and applies a variety of mixed media and materials. More on Essam Darawshi
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Rafat Asad, Palestinian, b. 1974 Haifa II, c. 2018 Acrylic on canvas 23 3/5 × 23 3/5 in, 60 × 60 cm Private collection
Haifa is the third-largest city in Israel — after Jerusalem and Tel Aviv — with a population of 285,316 in 2019. The city of Haifa forms part of the Haifa metropolitan area, the third-most populous metropolitan area in Israel.
Over the millennia, the Haifa area has changed hands: being conquered and ruled by the Assyrians, Babylonians, Canaanites, Israelites, Phoenicians, Persians, Hasmoneans, Romans, Byzantines, Arabs, Crusaders, Ottomans, and the British. More on Haifa…
Hassan Hajjaj, B. 1961, MOROCCAN WINK, c. 2007 Metallic Lambda inset with kohl boxes mounted on board in artist’s frame 94 by 66cm.; 37 by 26in. Private collection
Hassan Hajjaj (born Larache, Morocco in 1961) is a contemporary artist who lives and works between London, UK and Marrakech, Morocco.
Hajjaj’s work is in the collections of the Brooklyn Museum, New York; the British Museum, London; the Nasher Museum of Art, Duke University, Durham, NC; the Newark Museum, New Jersey; Los Angeles County Museum of Art, Los Angeles; Los Angeles Museum of Contemporary Art, Los Angeles; the Victoria & Albert Museum, London; the Farjam Collection, Dubai; Institut des Cultures d’Islam, Paris; Kamel Lazaar Foundation, Tunisia; and Virginia Museum of Fine Art, Richmond, VA.
Hajjaj was the winner of the 2011 Sovereign Middle East and African Art Prize and was shortlisted for Victoria & Albert Museum’s Jameel Prize in 2009. In 2013, Rose Issa Projects published a monograph of the artist exploring his upbringing in Morocco and London. More on Hassan Hajjaj
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Hussein Bikar, 1912 – 2002, EGYPTIAN THE LANDLORD, c. 1984 Oil on paper 46 by 27cm.; 18 1/8 by 10 1/2 in Private collection
Hussein Amin Bicar (2 January 1913 in Alexandria – 16 November 2003) was one of Egypt’s most prominent artists of the 20th century, after graduating from the Cairo higher school of fine arts in 1934, he spent more than 60 years of his life teaching art at schools and universities and then through the press, he is credited for initiating a style of journalistic art that elevated illustrating for news papers to a level close to that of the fine art, he is known for his simple and clear style reflecting the influence of Pharaonic art with its harmony, serenity and mystic. Bicar’s journalistic contributions go beyond illustrations to include art criticism and narrative poetry. Being the first Egyptian artist to illustrate Arabic children’s books, Bicar has played a major role in establishing and promoting this field.
Furthermore, his portraits and oil paintings depicting graceful Egyptian peasants, Nubian scenes, Alexandria and Pharaonic themes as well as his elegant, gracious nature has earned him great recognition and honors. In the words of late journalist Mustafa Amin:”he is not a single artist, he is a master of several arts…he is a painter, photographer, poet, musician and philosopher”.
He was of Turkish Cypriot extraction and a member of the Bahá’í Faith. More on Hussein Bikar
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Shakir Hassan Al-Said, 1925-2004, IRAQI Untitled (Town), c. 1951 Watercolour and pencil on paper 24 by 20cm.; 9 1/2 by 7 7/8 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.
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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Abdelaziz Gorgi, 1928-2008 JOUEURS DE CHKOBA; VEILLÉE DU RAMADAN (CHKOBA PLAYERS; EVE OF RAMADAN), circa 1960-1969 Acrylic, gold leaf, ink and pen on paper 76 by 55cm.; 29 7/8 by 21 3/4 in. Private collection
The chkobba is a card game drawn from the scopa and brought to Tunisia by Italian migrants.
It is played with traditional cards . The game is between two players or two teams of two players most often but it is possible, although infrequent, to play three or four independent players.
Depending on the regions, provinces and even villages, the rules of the game and the counting of points vary. More on The chkobba
Abdelaziz Gorgi’s oeuvre is a testament to a strong attachment to Tunisia, both in its form and practice. As one of the founders and last president of the Ecole de Tunis, of whom he remained an active practicing artist alongside Jallal Ben Abdallah and Hedi Turki, Gorgi’s paintings and tapestries are colourful, repeatedly featuring tokens such as ‘chechias’, the traditional Tunisian headgear or Chkoba, the traditional Tunisian card game, which both act to symbolize his personal background. Gorgi was also very active in encouraging the arts within his community, designing the first Tunisian postage stamp in 1956 and establishing the Tunis School of painting which he presided over until 1983. In 2000 his efforts were repaid when the Tunisian ministry of Culture announced that the country to be celebrating a ‘Gorgi Year’ of culture. More on Abdelaziz Gorgi
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Adham Wanly, 1908-1959, EGYPTIAN Le monastère copte, désert de Mariut/ The Coptic Monastery, Mariut Desert, c. 1953 Oil on paper 28,5 x 33,5 cm Private collection
The late Pope Kyrillos VI established this Coptic Orthodox monastery in 1959 in commemoration of Saint Mina (Menas), his patron saint, in an isolated desert area very close to the archaeological site and historical city of Abu Mena in Mariut, near Alexandria, Egypt.
Abu Mena is a UNESCO World Heritage Site, and was once an important Christian pilgrimage site during the 4th to 7th cent. A.D. Numerous little clay bottles (ampullae), on which Saint Mina’s name and picture are engraved, were discovered by archeologists in diverse countries around the world, such as Heidelberg, Germany; Milan, Italy; Dalmatia, Croatia; Marseille, France; Dengla, Sudan; and Jerusalem. These pottery ampullae (small holy water and oil flasks brought from pilgrimage places as a souvenir, and mass-produced in Early Byzantine times) come from Abu Mena, near Alexandria in Egypt.
Countless miracles have happened and continue to happen until this day there through the intercessions of Saint Mina the Martyr, Pope Kyrillos VI and the late Abba Mina Ava-Mina (late abbot of the new monastery), whose relics (all three) are preserved in the monastery. More on the Coptic Monastery, Mariut Desert
Adham Wanly (1908 in Alexandria, Egypt – 1959) was a painter who learnt in the atelier of the Italian Otorino Becchi 1932, then set up his own atelier with his brother Seif Wanly (above), and participated in many local and international exhibition specially Venice, São Paulo (Brasil), Alexandria Biennale. The Museum of Modern Art in Alexandria displays many of his paintings. The artist is mostly famous for recording the life of the theater and circus. He specialized in the ballet and opera that is featured in the Cairo Opera House and the Theatre Mohamed Ali in Alexandria. The paintings render the stage lights and movements of the people involved and he is able to express the light and agility in various ways. He had a talent in caricature in which he used in mockery of himself and the people of his time. There is now a museum in his memory. More on Adham Wanly
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Ibrahim El Dessouki, Egyptian, b. 1969 The Seventh Day Oil and oil bars on canvas 98 2/5 × 220 9/10 in, 250 × 561 cm Private collection
El Dessouki’s triptych of seven majestic, goddess-like women are incarnations of the Egyptian goddess of motherhood, Hathor, in her human, as opposed to bovine form. The painting derives its name from Egyptian tradition, inherited from ancient times, ‘El Sebou’ or ‘The Seventh Day’. The ritual is a seven-day celebration upon the birth of a child; the seventh day is when the child is believed to gain their hearing. The goddess appears in her seven iterations until the final day, upon which she whispers the baby’s faith. The pure-white of their garments highlights their dark features and olive skin to produce a striking image of a woman, captured candidly in the midst of various tasks, who epitomises Eastern ideals of beauty. More on this painting
Ibrahim El Dessouki (b. 1969, Cairo, Egypt) lives and works in Cairo as a painter of a highly condensed style in portraiture as well as in still life painting and landscape. His unique elaborate and highly meticulous treatment of shades & his refined textures that echo his feelings through an extraordinary & notable use of paint kneaded carefully to result in simultaneously dreamy & epic tones of color. Not to mention his immense sized shapes of women who pose at times to inspire awe and bewilderment showing off in the meantime details and mutations of degrees-of dimness, shades and light, to evoke the sense of tenderness and delicacy out of so many thick layers of rich and varied tints of paint which make the painting so vital and poetic.
Dessouki paints animals, still nature, landscape & women all in a soft, incredible & divine contemporary style. He is famous for his paintings of women; some of those paintings express his nostalgia for the women who strolled in his neighborhood when he was a child with their ample bodies hardly covered with a graceful shawl. His paintings of women are simple yet rich with grace and softness; his style is as pleasing to the eye and elegant as his subject matters.
Dessouki participated in exhibitions in Egypt and abroad. In 2003, he was part of the Panorama of 20th Century Egyptian Art in the Bibliotheca Alexandrina in Alexandria. In 2006 & 2008, he was an invited artist to the 10th and 11th Cairo International Biennale. More on Ibrahim El Dessouki
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Ibrahim El Dessouki, Egyptian, b. 1969 Doors and False Doors 5, c. 2021 Oil on canvas 72 4/5 × 47 1/5 in, 185 × 120 cm Private collection
“False doors”, also known as “Ka doors”, as they allowed the Ka (an element of the “soul”) to pass through them, were common in the mortuary temples and tombs of ancient Egypt from around the Third Dynasty and temples of the New Kingdom. The false door was thought to be a threshold between the world of mortals and the world of deities and spirits. The deity or the deceased could interact with the world of the living either by passing through the door or receiving offerings though it. As a result it was not uncommon to find false doors depicted on the sides of coffins as well as on the cabinets of “shawabti”.
From the middle of the Fifth Dynasty, the decorations often included torus moulding (convex moulding resembling a semicircle in cross section) and a “cavetto cornice” (a concave bracket around the top of a wall or gate with a cross section that resembles a quarter circle in cross section). It is thought that these decorations represented the plants originally used to build predynastic buildings. Images of the deceased were also fairly common. Usually, the decoration was undertaken in such a manner that the deceased appeared to emerge from the false door itself. More on False doorsIbrahim El Dessouki’s painting style is defined by his unique treatment of paint, accentuated by his ability to create subtle changes in its texture; his unusual use of negative space; and his deft manipulation of shadow and light. While the artist’s genres encompass portraiture, landscape and still life, El Dessouki’s subject matter is very much Egypt-centric, and captures his own unique and hypnotic perspective of the soul and essence of Egypt. More on this painting
Ibrahim El Dessouki (b. 1969, Cairo, Egypt) lives and works in Cairo as a painter of a highly condensed style in portraiture as well as in still life painting and landscape. His unique elaborate and highly meticulous treatment of shades & his refined textures that echo his feelings through an extraordinary & notable use of paint kneaded carefully to result in simultaneously dreamy & epic tones of color. Not to mention his immense sized shapes of women who pose at times to inspire awe and bewilderment showing off in the meantime details and mutations of degrees-of dimness, shades and light, to evoke the sense of tenderness and delicacy out of so many thick layers of rich and varied tints of paint which make the painting so vital and poetic.
Dessouki paints animals, still nature, landscape & women all in a soft, incredible & divine contemporary style. He is famous for his paintings of women; some of those paintings express his nostalgia for the women who strolled in his neighborhood when he was a child with their ample bodies hardly covered with a graceful shawl. His paintings of women are simple yet rich with grace and softness; his style is as pleasing to the eye and elegant as his subject matters.
Dessouki participated in exhibitions in Egypt and abroad. In 2003, he was part of the Panorama of 20th Century Egyptian Art in the Bibliotheca Alexandrina in Alexandria. In 2006 & 2008, he was an invited artist to the 10th and 11th Cairo International Biennale. More on Ibrahim El Dessouki
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.
Zaidan Gallery 