10 Works, RELIGIOUS ART – Contemporary & 20th Century Interpretation of the Bible! With Footnotes – 12

 Bettina Rheims

The new Eve II, May 1997

Ville-Evrard. From the exhibition I.N.R.I.

Men and women committed to embody the figures of Christ and the Virgin, the saints, apostles and many other characters told in the Gospel parables. Almost a visual cacophony, at first glance, and yet those perfect bodies, whose icy beauty reproduced in real giant images reveal little by little an unexpected mystical aura, while maintaining their carnality of individuals. Their earthly humanity. More on the exhibition I.N.R.I.

Bettina Rheims

INRI, The Baptism

Ville-Evrard. From the exhibition I.N.R.I.

 

Bettina (Caroline Germaine) Rheims is a French photographer born in Neuilly-sur-Seine on 18 December 1952. Bettina’s photographic career began in 1978, when she took a series of photos of a group of strip-tease artists and acrobats, which would lead to her first exhibitions. This work would unveil Bettina Rheims’ favourite subject, the female model, to which she would frequently return during her career.

Bettina Rheims (französisch, geb. 1952) Titel:

Jesus (from I.N.R.I.) , 1997

Color photograph

35,5 x 29 cm (14 x 11,4 in)

Ville-Evrard. From the exhibition I.N.R.I.

Bettina Rheims

The Crucifixion

605/8 x 496 in. (154 x 125 cm.)

Ville-Evrard. From the exhibition I.N.R.I.

 

At the beginning of the 1990s, Bettina Rheims worked on one of her major series, entitled Chambre Close (1990-1992). This was her first in colour and marked the start of her collaboration with the novelist Serge Bramly, in a work which saw her photographs coupled with the writer’s fiction. 

Bettina Rheims, Serge Bramly

Jesus and the Apostles, 1997

C-print Ville-Evrard. From the exhibition I.N.R.I.

 

In 1995, the Presidency of the French Republic commissioned Bettina Rheims to take the official portrait of Jacques Chirac.

The 1999 publication of the book I.N.R.I. and its eponymous exhibitio, once again united the gaze of Bettina Rheims with the prose of Serge Bramly. I.N.R.I. builds a philosophical dialogue on the history of the crucifixion through photographs of scenes of the life of Christ. In France, the publication of this work was highly controversial.

In 2002, Bettina Rheims created a series on Shanghai during two long stays in the city. In 2005, at the Galerie De Noirmont, Bettina exhibited Héroïnes, a work that was primarily a homage to sculpture.  

Bettina Rheims

The Last Supper, 1997

Ville-Evrard. From the exhibition I.N.R.I.

 

At the end of the 2000s, Bettina worked with Serge Bramly again and exhibited Rose, c’est Paris in 2010 at the National Library of France. The photographic tale was again built on a thread of fiction that Bettina Rheims and Serge Bramly created from autobiographical elements. More on Bettina Rheims

 

Bettina Rheims

Pietà. 1997

Ville-Evrard. From the exhibition I.N.R.I.

Bettina Rheims

Pietà. 1997

Ville-Evrard. From the exhibition I.N.R.I.

Iva Troj, United Kingdom

What Noah Forgot – Limited Edition 1 of 7

Photography

15.7 H x 23.6 W x 0.4 in

Private collection

Iva Troj seamlessly incorporates her vast experience of traditional painting techniques with postmodern elements to create engaging Renaissance-style works that challenge the notion of societal conformity. Born in Bulgaria, based in Scandinavia and the UK, Troj creates work originating fundamentally in the crossing of two realities: the one she grew up in and the one she has embraced. 

“I’ve been told I have artistic talents since I was a little girl. The problem was I spent most of my time worrying about the meaning of it all. I grew up in a rough neighborhood, in the outskirts of Plovdiv. At times it felt like the whole place was full of violent men. My family was very strict, loving and protective of me so I managed to keep my head above water. More on Iva Troj

Iva Troj, United Kingdom

Mankind

Painting

Size: 63 H x 43.3 W x 0.4 in

Private collection

Iva Troj, see above

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07 Paintings of the Canals of Venice by the artists of their time, with foot notes. #9

Jean-Baptiste van Moer, BRUXELLES 1819 – 1884, ECOLE BELGE

THE GRAND CANAL, VENICE, c. 1879

Oil on canvas

130 x 197 cm ; 51 1/4 by 77 1/2 in

Private collection

The Grand Canal in Venice, Italy forms one of the major water-traffic corridors in the city. Public transport is provided by water buses and private water taxis, and many tourists explore the canal by gondola.

One end of the canal leads into the lagoon near the Santa Lucia railway station and the other end leads into Saint Mark Basin; in between, it makes a large reverse-S shape through the central districts of Venice. More Grand Canal

Jean-Baptiste Van Moer was born in Brussels in 1819 and died in the same city in 1884. He was the student of François Bossuet He participated in the International Exhibition of Paris of 1855 with the active support of the Belgian ambassador. The thoroughness of his landscape is spotted by Queen Victoria, who commissioned several drawings. This beginning allows him to travel throughout Europe. 

Back in Brussels, he built a workshop and a house on the edge of the Leopold Park and devotes himself to paint the houses of Old Brussels, being endangered by the vaulting of the Senne . The initiator of this work, the mayor Jules Anspach , asked him to decorate the town hall with fifteen views of neighborhoods before it disappeard. The Van Moer, in Brussels, was named after him, on the occasion of the extension of the rue Allard. More on Jean-Baptiste Van Moer

Félix-François-Georges-Philibert Ziem, BEAUNE 1821-PARIS 1911

VIEW OF VENICE WITH THE DOGE’S PALACE

Oil on canvas

54,5 x 72,5 cm ; 21 1/2 x 28 1/2 in.

Private collection

The Doge’s Palace is a palace built in Venetian Gothic style, and one of the main landmarks of the city of Venice in northern Italy. The palace was the residence of the Doge of Venice, the supreme authority of the former Republic of Venice, opening as a museum in 1923. Today, it is one of the 11 museums run by the Fondazione Musei Civici di Venezia. More on The Doge’s Palace

Félix Ziem (February 26, 1821 – November 10, 1911) was a French painter in the style of the Barbizon School. He was born Félix-Francois Georges Philibert Ziem in Beaune in the Côte-d’Or département of the Burgundy région of France. His mother was a native of Burgundy who had married an immigrant. Originally, Ziem planned to be an architect and studied at the School of Architecture in Dijon, and for a time he worked as an architect. In 1839 he moved to Marseilles, where he received some informal instruction in painting from Adolphe Monticelli. Painting developed from a hobby into a career following a visit in 1841 to Italy, where he fell in love with the city of Venice, a place that would become the source for many of his works, and to which he returned annually until 1892. Apart from Venetian scenes, he also painted many still lifes, portraits, and landscapes from a variety of places including Constantinople, Martigues, Cagnes-sur-Mer and his native Burgundy. More on Félix Ziem

VENICE, LATE 19TH CENTURY 

Venetian Capriccio. 

Oil on canvas. 

30.5 x 40.5 cm.

Private collection

Jean Baptiste Arthur Calame, (1843 Geneva 1919) 

View of Venice

Oil on canvas on cardboard. 

46 x 34 cm. 

Private collection

Jean Baptiste Arthur Calame was born in 1843.  He is the son of Alexandre Calame.

Between 1860 and 1864, Calame learned the art of painting.  Afterwards, he attended the Royal Art Academy in Dusseldorf, and took courses from Oswald Achenbach until 1867.  

He preferred to depict the Italian landscape in a kind of Achenbach manner.  His works have been represented at numerous exhibitions in Switzerland, Berlin, Dresden, Vienna, Dijon and Munich. More on Jean Baptiste Arthur Calame 

 

Ralph Wormeley Curtis, (1854–1922)

RETURN FROM THE LIDO, c. 1884

Oil on canvas

74 x 142 cm (29 1/8 x 55 7/8 in.)

Isabella Stewart Gardner Museum

The Lido, or Venice Lido, is an 11-kilometre (7-mile) long sandbar in Venice, northern Italy; it is home to about 20,000 residents. The Venice Film Festival takes place at the Lido every September.

The island is home to three settlements. The Lido itself, in the north, is home to the Film Festival, the Grand Hotel des Bains, the Venice Casino and the Grand Hotel Excelsior. Malamocco. It was at one time home to the Doge of Venice.  More on Lido

Ralph Wormeley Curtis (August 28, 1854, Boston – February 4, 1922, Beaulieu-sur-Mer) was an American painter and graphic artist in the Impressionist style. He spent most of his life in Europe, where he was a close associate of his distant cousin, John Singer Sargent, and James McNeill Whistler. He painted in a variety of genres, but was known mostly for landscapes and urban scenes; especially of Venice.

Upon graduating from Harvard, he convinced his parents to let him study art. He began at the Académie Julian in Paris. Upon completing his work there, he found a position in the studios of Carolus-Duran. It was there he first met John Singer Sargent, who would not only become a close friend, but also have a significant influence on his style.

In 1878, his parents moved to Europe. They settled in Venice. One of their frequent guests was James McNeill Whistler, who would also become Curtis’ friend and influence his style. Meanwhile, he opened his own studio in Paris. In 1880.

From 1881 through 1893, he was a regular exhibitor at the Salon and, in 1889, received Honorable Mention at the Exposition Universelle. He also had showings at the Royal Academy of Arts, the Grosvenor Gallery and the Manchester Art Gallery. He apparently made little money from his paintings, however; relying on his family’s wealth for support.

In 1897, he married Lisa de Wolfe Colt of Providence, who was related to the Colt firearms family. After the birth of their daughter, Sylvia, they moved to Beaulieu-sur-Mer, where they had two more children. He died there in 1922. More on Ralph Wormeley Curtis

Ralph Wormeley Curtis, (1854–1922)

Drifting with the Tide, c. 1884

Oil on canvas

64 x 94.5 cm

Private collection

Ralph Curtis’s painting of a gondola gliding through Venice must have held special meaning for Mrs. Gardner (Isabella Stewart Gardner Museum). Like the woman depicted, she and Curtis spent many hours in each other’s company floating through the canals. The slight touch of purple through the sky and in the water, along with the mysterious faces of the woman and her gondolier, adds the perfect tone of languid, exotic atmosphere to the scene. More on Isabella Stewart Gardner Museum

 

Ralph Wormeley Curtis, see above

Ralph Wormeley Curtis,  (1854–1922)

The Bridge of Sighs, Venice

Oil on canvas

177.8 x 250.2 cm

Private collection

The Bridge of Sighs is an enclosed bridge made of white limestone. It has windows with stone bars, passes over the Rio di Palazzo, and connects the New Prison to the interrogation rooms in the Doge’s Palace. 

The view from the Bridge of Sighs was the last view of Venice that convicts saw before their imprisonment. The bridge’s name, given by Lord Byron, comes from the suggestion that prisoners would sigh at their final view of beautiful Venice through the window before being taken down to their cells. In reality, the days of inquisitions and summary executions were over by the time the bridge was built. More on The Bridge of Sighs


Ralph Wormeley Curtis, see above

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10 Classic Works of Art, Marine Paintings – With Footnotes, #38

Charles Dixon

Off Tilbury, c. 1912

Waterclor on paper on canvas

28.3×77.3 cm

Private collection

Tilbury is a town in the borough of Thurrock, Essex, England. It was established in the late 19th century, on land that was mainly part of Chadwell St Mary. It contains a 16th century fort and an ancient cross-river ferry. Tilbury has a major deep-water port which contributes to the local economy.

Tilbury’s history is closely connected with its geographical location. Its counterpart on the south bank of the River Thames, Gravesend, has long been an important communications link, and it was there that a cross-river ferry was connected, mainly due to the narrowness of the river at this point. More on Tilbury

Charles Edward Dixon (8 December 1872 – 12 September 1934) was a British maritime painter of the late nineteenth and early twentieth centuries, whose work was highly successful and regularly exhibited at the Royal Academy. Several of his paintings are held by the National Maritime Museum and he was a regular contributing artist to magazines and periodicals. He lived at Itchenor in Sussex and died in 1934. More on Charles Edward Dixon

 

ADOLFO GIRÁDEDEZ Y PEÑALVER, (SPAIN, 1840-1920) 

PORT IN CADIZ

Oil on canvas

60 x 100 cm 

Private collection

Cádiz is a city and port in southwestern Spain. It is the capital of the province of Cádiz, one of eight which make up the autonomous community of Andalusia.

Cádiz, the oldest continuously inhabited city in Spain and one of the oldest in western Europe, was founded by the Phoenicians. Cádiz is sometimes counted as the most ancient city still standing in Western Europe. and has been a principal home port of the Spanish Navy since the accession of the Spanish Bourbons in the 18th century.

Christopher Columbus sailed from Cádiz on his second and fourth voyages and the city later became the home port of the Spanish treasure fleet. Consequently, it became a major target of Spain’s enemies. The 16th century saw a series of failed raids by Barbary corsairs; the greater part of the old town was consumed in a major fire in 1569; and in April, 1587, a raid by the Englishman Francis Drake occupied the harbor for three days

In 1596, it was captured by another English fleet, this time under the Earls of Essex and Nottingham. They burned much of it before leaving with their booty. A third English raid was mounted against the city in 1625 by George Villiers, 1st Duke of Buckingham, and Edward Cecil, but the attempt was unsuccessful. During the Anglo-Spanish War, Admiral Robert Blake blockaded Cádiz from 1655 to 1657. In the 1702 Battle of Cádiz, the English attacked again under George Rooke and James Butler, 2nd Duke of Ormonde, but they were repelled after a costly siege. More on Cádiz

CLAYS Paul Jean, (1819 – 1900)

“Entrance of the port of Flushing”

Oil on board of mahogany 

51×40.5cm.

Private collection

The maritime history of Vlissingen, Flushing, goes back many centuries. Even in the 13th century the port of Vlissingen had a bustling trade in skins, salt, herring, tar and wool. In the same century Vlissingen was also infamous for its privateering and piracy.

One of the oldest harbours is the ‘Voorhaven’. This harbour, dug in the Middle Ages, is still intact and is currently used by the pilot boats. The Nije, Engelse or Vissershaven dates from 1455. Privateering, trade and crafts made Vlissingen a flourishing town in the sixteenth century, while the slave trade too played an important role. The ships of Vlissingen sailed around the world and contributed to the global power of the Seven United Provinces.

The Golden Age was followed by a deep point in Vlissingen’s history. During the Napoleonic occupation Vlissingen became a poor and destitute town. At the end of the nineteenth century the situation improved when the Dutch Government decided to dig the canal through Walcheren, build two inner harbours and the outer harbour and construct the railway line between Vlissingen and Bergen op Zoom. More on Flushing

Paul Jean Clays (27 November 1819 – 10 February 1900), Belgian artist, was born at Bruges, and died at Brussels. In 1851 he made his debut at the Paris Salon and, while he tried to stay in the mainstream, his art was heralded by those who were looking for a change to more realism.

In 1852 he moved to Antwerp where he lived from 1852 to 1856; it was during this period that his fortunes began to improve.

In 1856 he and his family moved to Brussels where he became a prolific artist, specializing in scenes along the Scheldt. He exhibited a number of works at the Exposition Universelelle of 1867 and the critic Burger-Thoré described him as one of the greatest marine painters of the time.

In 1868 he became a member of the Société Libre des Beaux-Arts, a society founded to help promote the works of artists who were interested in their individual interpretations of nature. He was a frequent exhibitor at the many exhibition halls in Europe and exhibited many pieces at the Paris Salon. More on Paul Jean Clays

Kovalev, Peter, (Russia, 20th century)

Two-Master in Distress

Oil on canvas

135.0 x 94.5 cm.

Private collection

WILLIAM PIERCE STUBBS, (AMERICAN, 1842-1909) 

THE SCHOONER ALICIA B. CROSBY 

Oil on canvas

26 1/2 x 42 in

Private collection

William Pierce Stubbs (1842–1909) or W.P. Stubbs was a marine painter in the Boston, Massachusetts, area in the 19th century. Examples of his work are in the Bostonian Society; Cape Ann Museum; and Peabody Essex Museum. He also lived in Bucksport, Maine. More on William Pierce Stubbs

Medvey, Heinrich von, (years active 1935 – 1980, Berlin),

Pirates of the Mediterranean Sea, c. 1952

Oil on hardboard

18.0 x 24.0 cm

Private collection

LORENZO GHIGLIERI,  (Oregon, born 1931)

Native American war party in two canoes with sails employed, c. 1976

OIL ON CANVAS 

30″ x 40″

Private collection

LORENZO GHIGLIERI,  (Oregon, born 1931), born in America of Italian, French and German immigrants, Lorenzo Ghiglieri grew up in a rich ethnic culture on the fringe of Los Angeles .  After receiving extensive formal training, Lorenzo took it upon himself to study the Old Masters, especially deriving influence from Rembrandt, Velazquez and Corot.  At the age of seventeen, he was honored with a prestigious art scholarship, but was interrupted serving duty on a U.S. destroyer during the Korean War.  He received his first commission as a combat illustrator from the United States Government.  At twenty-two, Lorenzo was working as an illustrator on various national accounts in New York, Chicago, and Los Angeles through an international advertising agency.

Lorenzo’s work graces the walls of the most prestigious establishments in the world. His sculptures and paintings have been presented to Pope John Paul II at The Vatican in Rome, President Ronald Reagan at the White House, Mikhail Gorbachev of the Kremlin and King Juan Carlos of the Royal Palace in Madrid. Tiger Woods, Luciano Pavarotti and General Schwartzkopf are a few others who take pride in their ownership of a Lorenzo Ghiglieri sculpture.

In 1994, Lorenzo sculpted the “Official American Bald Eagle” in bronze, silver, and gold, now on display at the White House and part of their permanent collection.  Later, he was commissioned to complete the “Timeline of Liberty,” a historical bronze piece documenting the forefathers of liberty from ancient Greece to modern times.  Lorenzo continues to create the aesthetics of great architecture in modern times. More on LORENZO GHIGLIERI

John Singer Sargent

Girl fishing at San Vigilio, c. 1913

Oil on canvas

49.5 x 71.1 cm. (19.5 x 28 in.)

 Private Collection

Sargent would become increasingly less interested in executing the society portraits for which he was famous and would take refuge in trips to the Alps, Venice and the Mediterranean with members of his family. San Vigilio is a small fishing village on a point at the southern end of Lake Garda in Italy and this painting was executed in 1913 on his last European sojourn before the outbreak of World War I. Sargent would travel with a variety of veils and shawls and the like to dress his “models” on such trips. “The woman in the present painting, possibly Jane de Glehn,” More on this painting

John Singer Sargent (January 12, 1856 – April 14, 1925) was an American artist, considered the “leading portrait painter of his generation” for his evocations of Edwardian era luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida.

His parents were American, but he was trained in Paris prior to moving to London. Sargent enjoyed international acclaim as a portrait painter, although not without controversy and some critical reservation; an early submission to the Paris Salon, his “Portrait of Madame X”, was intended to consolidate his position as a society painter, but it resulted in scandal instead. From the beginning his work was characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for a supposed superficiality. His commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. He lived most of his life in Europe. More John Singer Sargent

SCHREIBER, PETER CONRAD, 1816 – 1894

Young fisherman on a beach before Capri. 

Oil on canvas. 

66 x 144 cm. 

 Private Collection

Peter Konrad Schreiber (born 11 August 1816 in Fürth , died 17 February 1894 in Nuremberg ) was interested in drawing early on. His father soon encouraged him by means of targeted instruction. He made great strides at the Nuremberg Academy of Fine Arts under Albert Christoph Reindel, who discovered the extraordinary talent of Schreiber, and gave the boy a further education in 1835, Academy in Berlin.

Schreiber belonged to the private circle of pupils of Professor Wilhelm Ferdinand Schirmer In Berlin, In 1839 he moved to Rome, where he created numerous landscape imprints and an extensive sketchbook. The impressions of Italy shaped his whole life. 

In 1842 Schreiber returned to Fürth. Starting from the school year 1844/45 , Schreiber becomes “Fachlehrer of the drawing art” at the Latin school at the Egidien-Gymnasium in Nuremberg. In 1847 he was married in second marriage to the Juliane Karoline Elise Krieg (1829-1894). On February 23, 1874 , he stopped drawing because of increasing eye weakness.”  However, he continued to paint. His last known and dated work is from 1892. More on Peter Konrad Schreiber 

Maggi Hambling

Wave Breaking (detail), March, 2007

Oil on canvas

122 x 183 cm © The Artist

Maggi Hambling CBE (born 23 October 1945 in Sudbury, Suffolk) is a British contemporary painter and sculptor. Hambling first studied art under at the Amberfield School in Nacton. She then studied at the East Anglian School of Painting and Drawing from 1960, then at Ipswich School of Art (1962–64), Camberwell (1964–67), and finally the Slade School of Art, graduating in 1969.

In 1995, she was awarded the Jerwood Painting Prize. In the same year she was awarded an OBE for her services to painting, followed by a CBE in 2010. Hambling’s celebrated series of North Sea paintings have continued since late 2002.

Portraits form part of Hambling’s oeuvre, with several works in the National Portrait Gallery, London. Women feature prominently in her portrait series. Her wider body of work is held in many public collections including the British Museum, Tate Collection, National Gallery, Scottish Gallery of Modern Art and the Victoria and Albert Museum. More on Maggi Hambling 

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07 Paintings, RELIGIOUS ART – Interpretations of the Bible! by The Old Masters, With Footnotes # 60

Youssef Nabil, B. 1972, EGYPTIAN

PORTRAIT OF JANNANE AL ANI

Hand-coloured gelatin silver print

38 by 25cm.; 15 by 9 7/8 in.

Private collection

Jananne Al-Ani was born in Kirkuk, Iraq in 1966. She studied Fine Art at the Byam Shaw School of Art and graduated with an MA in Photography from the Royal College of Art in 1997. She is currently Senior Research Fellow at the University of the Arts London, and lives and works in London.

Working with photography, film and video, Al-Ani has an ongoing interest in the documentary tradition, through intimate recollections and more official accounts. Her work also engages with the landscape of the Middle East, its archaeology and its visual representation.

Summarising her work , Al-Ani said: “I have a longstanding interest in the representation of the body. The earliest works I exhibited were concerned with the way women’s bodies have been represented throughout the history of western painting. In advance of the development of photography and film, the shifting ideals of feminine beauty were clearly mapped out in the work of artists. However, the media coverage of the 1991 Gulf War, which focused on aerial and satellite images of a depopulated, barren landscape, had a major impact on my work. What followed was a reassessment on my part of the work of Orientalist painters and the way in which fantasies about the body and the landscape of the Middle East were constructed in their works. I began to see the body itself as a contested territory and during the 90s produced a series of works that attempted to counter the European obsession with uncovering and exposing the bodies of veiled women. More recently, with the Aesthetics of Disappearance project, I’ve attempted to re-occupy that space so, while the presence of the body is implied rather than explicit, the traces of human activity in the landscape are clear to see. More om Jananne Al-Ani

Youssef Nabil (born 6 November 1972) is an Egyptian artist and photographer. Fascinated by cinema in his youth, Egyptian photographer Youssef Nabil captures the contemporary paradoxes of the Middle East through the lens of fantasy. In 2003, Nabil was awarded The Seydou Keita Prize for Portraiture from the Rencontres Africaines de la Photographie, Bamako, Mali and in 2005 he was honored by the International Photography Awards, Los Angeles, CA. His first film, You Never Left, was first exhibited in 2010. His work has been the subject of recent solo shows at Maison Europeenne de la Photographie, Paris, France (2012); Nathalie Obadia Gallery, Paris, France (2011); Yossi Milo Gallery, New York, NY (2010); Savannah College of Art and Design, Atlanta, GA (2010); GALERIST, Istanbul, Turkey (2009); Villa Medici, Rome, Italy (2009); The Third Line Gallery, Dubai, UAE (2009); and Volker Diehl Gallery, Berlin, Germany (2009). More on Youssef Nabil

Kees van Dongen, (1877 – 1968)

La Marquise de Casati , Circa 1950

Lithograph printed in colours on wove paper

23 3/8 x 11 3/4 in.

Private collection

Luisa, Marchesa Casati Stampa di Soncino (23 January 1881 – 1 June 1957), also known as Luisa Casati, was an Italian heiress, muse, and patroness of the arts in early 20th-century Europe known for her eccentricities. As the concept of quaintrelle was re-developed, Marchesa Casati fitted the utmost example by saying: “I want to be a living work of art”.

Luisa was born in Milan, youngest of two daughters of Alberto Amman and his wife Lucia. Her father was of Austrian descent, while her mother was Italian and Austrian. Alberto Amman father was made a count by King Umberto I. Countess Amman died when Luisa was thirteen, and Count Amman died two years later, making his daughters, Luisa and her older sister, Francesca (1880–1919, married Giulio Padulli), reportedly the wealthiest women in Italy. More on Marquise de Casati

Cornelis Theodorus Maria ‘Kees’ van Dongen (26 January 1877 – 28 May 1968) was a Dutch-French painter and one of the Fauves at the controversial 1905 Salon d’Automne exhibition. He gained a reputation for his sensuous, at times garish, portraits.

Kees van Dongen was born in Delfshaven, a borough of Rotterdam. He was the second of four children in a middle-class family. In 1892, at age 16, Kees van Dongen started his studies at the Royal Academy of Fine Arts in Rotterdam During this period (1892–97), van Dongen frequented the Red Quarter seaport area, where he drew scenes of sailors and prostitutes. He met Augusta Preitinger at the Academy, a fellow painter.

In 1897, van Dongen lived in Paris for several months, where there was a large emigre community. Van Dongen began to exhibit in Paris, and participated in the controversial 1905 Salon d’Automne exhibition[4] along with Henri Matisse, André Derain, Albert Marquet, Maurice de Vlaminck, Charles Camoin, and Jean Puy.

Van Dongen’s candid, colourful portrait style was immensely fashionable by the end of World War I, and thereafter it remained his main focus. The figure of a glamorous woman with large eyes and red lips became his archetype. More on Kees van Dongen

 

Sandro Botticelli,  (1445–1510) 

Portrait of a Lady, known as Smeralda Brandini, c. 1470 and 1475

Tempera on panel

Height: 65.7 cm (25.9 in). Width: 41 cm (16.1 in).

Victoria and Albert Museum

The Portrait of Smeralda Brandini is a tempera on panel painting by the Italian Renaissance artist Sandro Botticelli of about 1475, in the Victoria and Albert Museum, London.

The identification of the sitter is based on the old, but probably not original, inscription on the windowsill at the bottom of the picture Smeralda di M.Bandinelli Moglie di VI, the wife of Viviano Brandini, mother of the prominent Florentine goldsmith Michelangelo de Viviano de Brandini of Gaiuole, and grandmother of the sculptor Baccio Bandinelli (the son of Michelangelo). From archive documents it is known that in 1469 Smeralda was 30. More on Smeralda Brandini

Alessandro di Mariano di Vanni Filipepi, known as Sandro Botticelli (1445 –1510), was an Italian painter of the Early Renaissance. He belonged to the Florentine School.  Botticelli’s posthumous reputation suffered until the late 19th century; since then, his work has been seen to represent the linear grace of Early Renaissance painting.

Botticelli was born in Florence. He was initially trained as a goldsmith. There are very few details of Botticelli’s life, but it is known that he became an apprentice when he was about fourteen years old. By 1462 he was apprenticed to Fra Filippo Lippi; many of his early works have been attributed to the elder master, and attributions continue to be uncertain. Influenced also by the monumentality of Masaccio’s painting, it was from Lippi that Botticelli learned a more intimate and detailed manner.

By 1470, Botticelli had his own workshop. His work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modelled forms.

In the mid-1480s, Botticelli worked on a major fresco cycle for Lorenzo the Magnificent’s villa near Volterra; in addition he painted many frescoes in Florentine churches. In 1491 he served on a committee to decide upon a façade for the Cathedral of Florence.

Botticelli never wed, and expressed a strong disliking to the idea of marriage, a prospect he claimed gave him nightmares. More on Sandro Botticelli

 

Anthony van Dyck, (1599–1641)

Princess Henrietta Maria of France, Queen consort of England, circa 1636 and circa 1638

Oil on canvas

San Diego Museum

Henrietta Maria of France (25 November[1609 – 10 September 1669) was queen consort of England, Scotland, and Ireland as the wife of King Charles I. She was mother of his two immediate successors, Charles II and James II.

Her Roman Catholicism made her unpopular in England, and also prohibited her from being crowned in an Anglican service. She never had a coronation. She began to immerse herself in national affairs as civil war loomed on the horizon, and was compelled to seek refuge in France in 1644, following the birth of her youngest daughter, Henrietta, during the height of the First English Civil War. The execution of King Charles in 1649 left her impoverished. She settled in Paris, and then returned to England after the Restoration of her eldest son, Charles, to the throne. In 1665, she moved back to Paris, where she died four years later.

The North American Province of Maryland was named in her honour, and the name was carried over into the current U.S. state of Maryland. More on Henrietta Maria

Sir Anthony van Dyck, ( 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. The Van Dyke beard is named after him. More Sir Anthony van Dyck

Guercino, (1591–1666)

The Persian Sibyl, c. (1647 – 1648)

Oil on canvas

Height: 1,170 mm (46.06 in). Width: 960 mm (37.8 in).

Capitoline Museums, Piazza del Campidoglio, Capitoline Hill, Rome, Italy.

The Persian Sibyl – also known as the Babylonian, Hebrew or Egyptian Sibyl – was the prophetic priestess presiding over the Apollonian oracle.

The word “Sibyl” , meaning “prophetess, there were many Sibyls in the ancient world, but the Persian Sibyl allegedly foretold the exploits of Alexander of Macedon. She has had at least three names: Sambethe, Helrea and Sabbe.

Sambethe was said to be of the family of Noah. A painting of Sibilla Persica by Guercino hangs in the Capitoline Museum in Rome. The medieval Byzantine encyclopedia, the Suda, credits the Hebrew Sibyl as author of the Sibylline oracles, a collection of texts of the 2nd to 4th century which were collected in the 6th century. More on The Persian Sibyl

AFTER GUERCINO, 19TH CENTURY

The Persian Sybil

Oil on canvas

112 x 74cm

Private collection

Giovanni Francesco Barbieri (February 8, 1591 – December 22, 1666), best known as Guercino, was an Italian Baroque painter and draftsman from the region of Emilia, and active in Rome and Bologna. The vigorous naturalism of his early manner is in contrast to the classical equilibrium of his later works. His many drawings are noted for their luminosity and lively style.

Mainly self-taught, at the age of 16, he worked as apprentice in the shop of Benedetto Gennari, a painter of the Bolognese School. By 1615, he moved to Bologna, where his work was praised by Ludovico Carracci. Guercino painted two large canvases, Elijah Fed by Ravens and Samson Seized by Philistines, for Cardinal Serra, a Papal Legate to Ferrara. These paintings have a stark naturalist Caravaggesque style, although it is unlikely that Guercino saw any of the Roman Caravaggios first-hand.

Guercino’s early works are often tumultuous. He often claimed that his early style was influenced by a canvas of Ludovico Carracci that he saw in the Capuchin church in Cento. Some of his later works are closer to the style of his contemporary Guido Reni, and are painted with more lightness and clearness. More on Guercino

 

Michael Dahl, (1659–1743)

Portrait of Martha Langham

Oil on canvas

74 x 62cm

Private collection

Martha Langham4th daughter of Sir John Langham, as a young girl three-quarter length wearing a blue dress with a bowl of cherries and a canary, in a feigned oval. Martha died unmarried. 

Sir John Langham, 1st Baronet (20 April 1584 – 16 May 1671) was an English politician who sat in the House of Commons in 1654 and 1660.

He was the eldest son of Edward Langham of Guilsborough, Northamptonshire, who he succeeded in 1607. He was apprenticed to Sir Richard Napier, a Turkey merchant, for whom he worked in the Near East.

On his return he became a Turkey merchant himself,  and made a considerable fortune in the City of London. He built up an estate in Northamptonshire which included the purchase of the Cottesbrooke estate in 1635, (from which this painting comes). He was an alderman and sheriff of London in 1642. He was committed to the Tower of London twice, with the Lord Mayor and other aldermen of London for refusing to publish an act for the abolition of royalty. Langham died at the age of 87.  More on Sir John Langham

An acrimonious dispute within the Langhams,  one of England’s oldest families, will lead to the splitting up of their unique £1 million collection of portraits and heirlooms dating back more than five centuries. Generations of family portraits will go under the hammer after Sir John Langham, 44, failed to reconcile his differences with his mother, the dowager Lady Marion Langham, 64, who lives with her French boyfriend in a bungalow on the family estate. More on the dispute

Michael Dahl  (1659–1743), see below

Michael Dahl, (1659–1743)

A portrait of Elizabeth Langham

Oil on canvas

126 x 104cm

Private collection

A portrait of Elizabeth Langham, as a young woman, standing three quarter length on a terrace, a spaniel seated beside her, flowers in an ornamental urn at her shoulder, a wooded landscape beyond. It is thought that the landscape element represents the new landscaping at CottesbrookeMore on Cottesbrooke

Michael Dahl (Stockholm 1659-1743 London) studied in Sweden under Ehrenstrahl and began travelling in 1682, coming first to London where he may have studied under Kneller, then via Paris on to Rome in 1684. In 1687 he left Rome and came via Frankfurt to London where he settled for good in 1689. He soon became the best patronised portrait painter in England after Kneller. He was employed by Prince George of Denmark and did many portraits of the court of Queen Anne.  A great patron was the Duke of Somerset for whom he painted the famous ‘Petworth Beauties’.  After 1714 he lost court patronage but painted a large number of the nobility, the Law and the Church.  His style is very close to that of Kneller and his work is often misattributed to his rival but his interpretation of character tends to be softer and less formal. More on Michael Dahl

Michael Dahl,  (1659–1743)

Portrait of a Lady, c.1700-10

Oil on canvas Oil

Height: 1,260 mm (49.61 in). Width: 1,016 mm (40 in).

Dulwich Picture Gallery, South London

Michael Dahl  (1659–1743), see above

Images are copyright of their respective owners, assignees or others

We 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.

09 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #14

Youssef Nabil, B. 1972, EGYPTIAN

PORTRAIT OF JANNANE AL ANI

Hand-coloured gelatin silver print

38 by 25cm.; 15 by 9 7/8 in.

Private collection

Jananne Al-Ani was born in Kirkuk, Iraq in 1966. She studied Fine Art at the Byam Shaw School of Art and graduated with an MA in Photography from the Royal College of Art in 1997. She is currently Senior Research Fellow at the University of the Arts London, and lives and works in London.

Working with photography, film and video, Al-Ani has an ongoing interest in the documentary tradition, through intimate recollections and more official accounts. Her work also engages with the landscape of the Middle East, its archaeology and its visual representation.

Summarising her work , Al-Ani said: “I have a longstanding interest in the representation of the body. The earliest works I exhibited were concerned with the way women’s bodies have been represented throughout the history of western painting. In advance of the development of photography and film, the shifting ideals of feminine beauty were clearly mapped out in the work of artists. However, the media coverage of the 1991 Gulf War, which focused on aerial and satellite images of a depopulated, barren landscape, had a major impact on my work. What followed was a reassessment on my part of the work of Orientalist painters and the way in which fantasies about the body and the landscape of the Middle East were constructed in their works. I began to see the body itself as a contested territory and during the 90s produced a series of works that attempted to counter the European obsession with uncovering and exposing the bodies of veiled women. More recently, with the Aesthetics of Disappearance project, I’ve attempted to re-occupy that space so, while the presence of the body is implied rather than explicit, the traces of human activity in the landscape are clear to see. More om Jananne Al-Ani

Youssef Nabil (born 6 November 1972) is an Egyptian artist and photographer. Fascinated by cinema in his youth, Egyptian photographer Youssef Nabil captures the contemporary paradoxes of the Middle East through the lens of fantasy. In 2003, Nabil was awarded The Seydou Keita Prize for Portraiture from the Rencontres Africaines de la Photographie, Bamako, Mali and in 2005 he was honored by the International Photography Awards, Los Angeles, CA. His first film, You Never Left, was first exhibited in 2010. His work has been the subject of recent solo shows at Maison Europeenne de la Photographie, Paris, France (2012); Nathalie Obadia Gallery, Paris, France (2011); Yossi Milo Gallery, New York, NY (2010); Savannah College of Art and Design, Atlanta, GA (2010); GALERIST, Istanbul, Turkey (2009); Villa Medici, Rome, Italy (2009); The Third Line Gallery, Dubai, UAE (2009); and Volker Diehl Gallery, Berlin, Germany (2009). More on Youssef Nabil

Kees van Dongen, (1877 – 1968)

La Marquise de Casati , Circa 1950

Lithograph printed in colours on wove paper

23 3/8 x 11 3/4 in.

Private collection

Luisa, Marchesa Casati Stampa di Soncino (23 January 1881 – 1 June 1957), also known as Luisa Casati, was an Italian heiress, muse, and patroness of the arts in early 20th-century Europe known for her eccentricities. As the concept of quaintrelle was re-developed, Marchesa Casati fitted the utmost example by saying: “I want to be a living work of art”.

Luisa was born in Milan, youngest of two daughters of Alberto Amman and his wife Lucia. Her father was of Austrian descent, while her mother was Italian and Austrian. Alberto Amman father was made a count by King Umberto I. Countess Amman died when Luisa was thirteen, and Count Amman died two years later, making his daughters, Luisa and her older sister, Francesca (1880–1919, married Giulio Padulli), reportedly the wealthiest women in Italy. More on Marquise de Casati

Cornelis Theodorus Maria ‘Kees’ van Dongen (26 January 1877 – 28 May 1968) was a Dutch-French painter and one of the Fauves at the controversial 1905 Salon d’Automne exhibition. He gained a reputation for his sensuous, at times garish, portraits.

Kees van Dongen was born in Delfshaven, a borough of Rotterdam. He was the second of four children in a middle-class family. In 1892, at age 16, Kees van Dongen started his studies at the Royal Academy of Fine Arts in Rotterdam During this period (1892–97), van Dongen frequented the Red Quarter seaport area, where he drew scenes of sailors and prostitutes. He met Augusta Preitinger at the Academy, a fellow painter.

In 1897, van Dongen lived in Paris for several months, where there was a large emigre community. Van Dongen began to exhibit in Paris, and participated in the controversial 1905 Salon d’Automne exhibition[4] along with Henri Matisse, André Derain, Albert Marquet, Maurice de Vlaminck, Charles Camoin, and Jean Puy.

Van Dongen’s candid, colourful portrait style was immensely fashionable by the end of World War I, and thereafter it remained his main focus. The figure of a glamorous woman with large eyes and red lips became his archetype. More on Kees van Dongen

 

Sandro Botticelli,  (1445–1510) 

Portrait of a Lady, known as Smeralda Brandini, c. 1470 and 1475

Tempera on panel

Height: 65.7 cm (25.9 in). Width: 41 cm (16.1 in).

Victoria and Albert Museum

The Portrait of Smeralda Brandini is a tempera on panel painting by the Italian Renaissance artist Sandro Botticelli of about 1475, in the Victoria and Albert Museum, London.

The identification of the sitter is based on the old, but probably not original, inscription on the windowsill at the bottom of the picture Smeralda di M.Bandinelli Moglie di VI, the wife of Viviano Brandini, mother of the prominent Florentine goldsmith Michelangelo de Viviano de Brandini of Gaiuole, and grandmother of the sculptor Baccio Bandinelli (the son of Michelangelo). From archive documents it is known that in 1469 Smeralda was 30. More on Smeralda Brandini

Alessandro di Mariano di Vanni Filipepi, known as Sandro Botticelli (1445 –1510), was an Italian painter of the Early Renaissance. He belonged to the Florentine School.  Botticelli’s posthumous reputation suffered until the late 19th century; since then, his work has been seen to represent the linear grace of Early Renaissance painting.

Botticelli was born in Florence. He was initially trained as a goldsmith. There are very few details of Botticelli’s life, but it is known that he became an apprentice when he was about fourteen years old. By 1462 he was apprenticed to Fra Filippo Lippi; many of his early works have been attributed to the elder master, and attributions continue to be uncertain. Influenced also by the monumentality of Masaccio’s painting, it was from Lippi that Botticelli learned a more intimate and detailed manner.

By 1470, Botticelli had his own workshop. His work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modelled forms.

In the mid-1480s, Botticelli worked on a major fresco cycle for Lorenzo the Magnificent’s villa near Volterra; in addition he painted many frescoes in Florentine churches. In 1491 he served on a committee to decide upon a façade for the Cathedral of Florence.

Botticelli never wed, and expressed a strong disliking to the idea of marriage, a prospect he claimed gave him nightmares. More on Sandro Botticelli

 

Anthony van Dyck, (1599–1641)

Princess Henrietta Maria of France, Queen consort of England, circa 1636 and circa 1638

Oil on canvas

San Diego Museum

Henrietta Maria of France (25 November[1609 – 10 September 1669) was queen consort of England, Scotland, and Ireland as the wife of King Charles I. She was mother of his two immediate successors, Charles II and James II.

Her Roman Catholicism made her unpopular in England, and also prohibited her from being crowned in an Anglican service. She never had a coronation. She began to immerse herself in national affairs as civil war loomed on the horizon, and was compelled to seek refuge in France in 1644, following the birth of her youngest daughter, Henrietta, during the height of the First English Civil War. The execution of King Charles in 1649 left her impoverished. She settled in Paris, and then returned to England after the Restoration of her eldest son, Charles, to the throne. In 1665, she moved back to Paris, where she died four years later.

The North American Province of Maryland was named in her honour, and the name was carried over into the current U.S. state of Maryland. More on Henrietta Maria

Sir Anthony van Dyck, ( 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. The Van Dyke beard is named after him. More Sir Anthony van Dyck

Guercino, (1591–1666)

The Persian Sibyl, c. (1647 – 1648)

Oil on canvas

Height: 1,170 mm (46.06 in). Width: 960 mm (37.8 in).

Capitoline Museums, Piazza del Campidoglio, Capitoline Hill, Rome, Italy.

The Persian Sibyl – also known as the Babylonian, Hebrew or Egyptian Sibyl – was the prophetic priestess presiding over the Apollonian oracle.

The word “Sibyl” , meaning “prophetess, there were many Sibyls in the ancient world, but the Persian Sibyl allegedly foretold the exploits of Alexander of Macedon. She has had at least three names: Sambethe, Helrea and Sabbe.

Sambethe was said to be of the family of Noah. A painting of Sibilla Persica by Guercino hangs in the Capitoline Museum in Rome. The medieval Byzantine encyclopedia, the Suda, credits the Hebrew Sibyl as author of the Sibylline oracles, a collection of texts of the 2nd to 4th century which were collected in the 6th century. More on The Persian Sibyl

AFTER GUERCINO, 19TH CENTURY

The Persian Sybil

Oil on canvas

112 x 74cm

Private collection

Giovanni Francesco Barbieri (February 8, 1591 – December 22, 1666), best known as Guercino, was an Italian Baroque painter and draftsman from the region of Emilia, and active in Rome and Bologna. The vigorous naturalism of his early manner is in contrast to the classical equilibrium of his later works. His many drawings are noted for their luminosity and lively style.

Mainly self-taught, at the age of 16, he worked as apprentice in the shop of Benedetto Gennari, a painter of the Bolognese School. By 1615, he moved to Bologna, where his work was praised by Ludovico Carracci. Guercino painted two large canvases, Elijah Fed by Ravens and Samson Seized by Philistines, for Cardinal Serra, a Papal Legate to Ferrara. These paintings have a stark naturalist Caravaggesque style, although it is unlikely that Guercino saw any of the Roman Caravaggios first-hand.

Guercino’s early works are often tumultuous. He often claimed that his early style was influenced by a canvas of Ludovico Carracci that he saw in the Capuchin church in Cento. Some of his later works are closer to the style of his contemporary Guido Reni, and are painted with more lightness and clearness. More on Guercino

 

Michael Dahl, (1659–1743)

Portrait of Martha Langham

Oil on canvas

74 x 62cm

Private collection

Martha Langham4th daughter of Sir John Langham, as a young girl three-quarter length wearing a blue dress with a bowl of cherries and a canary, in a feigned oval. Martha died unmarried. 

Sir John Langham, 1st Baronet (20 April 1584 – 16 May 1671) was an English politician who sat in the House of Commons in 1654 and 1660.

He was the eldest son of Edward Langham of Guilsborough, Northamptonshire, who he succeeded in 1607. He was apprenticed to Sir Richard Napier, a Turkey merchant, for whom he worked in the Near East.

On his return he became a Turkey merchant himself,  and made a considerable fortune in the City of London. He built up an estate in Northamptonshire which included the purchase of the Cottesbrooke estate in 1635, (from which this painting comes). He was an alderman and sheriff of London in 1642. He was committed to the Tower of London twice, with the Lord Mayor and other aldermen of London for refusing to publish an act for the abolition of royalty. Langham died at the age of 87.  More on Sir John Langham

An acrimonious dispute within the Langhams,  one of England’s oldest families, will lead to the splitting up of their unique £1 million collection of portraits and heirlooms dating back more than five centuries. Generations of family portraits will go under the hammer after Sir John Langham, 44, failed to reconcile his differences with his mother, the dowager Lady Marion Langham, 64, who lives with her French boyfriend in a bungalow on the family estate. More on the dispute

Michael Dahl  (1659–1743), see below

Michael Dahl, (1659–1743)

A portrait of Elizabeth Langham

Oil on canvas

126 x 104cm

Private collection

A portrait of Elizabeth Langham, as a young woman, standing three quarter length on a terrace, a spaniel seated beside her, flowers in an ornamental urn at her shoulder, a wooded landscape beyond. It is thought that the landscape element represents the new landscaping at CottesbrookeMore on Cottesbrooke

Michael Dahl (Stockholm 1659-1743 London) studied in Sweden under Ehrenstrahl and began travelling in 1682, coming first to London where he may have studied under Kneller, then via Paris on to Rome in 1684. In 1687 he left Rome and came via Frankfurt to London where he settled for good in 1689. He soon became the best patronised portrait painter in England after Kneller. He was employed by Prince George of Denmark and did many portraits of the court of Queen Anne.  A great patron was the Duke of Somerset for whom he painted the famous ‘Petworth Beauties’.  After 1714 he lost court patronage but painted a large number of the nobility, the Law and the Church.  His style is very close to that of Kneller and his work is often misattributed to his rival but his interpretation of character tends to be softer and less formal. More on Michael Dahl

Michael Dahl,  (1659–1743)

Portrait of a Lady, c.1700-10

Oil on canvas Oil

Height: 1,260 mm (49.61 in). Width: 1,016 mm (40 in).

Dulwich Picture Gallery, South London

Michael Dahl  (1659–1743), see above

Images are copyright of their respective owners, assignees or others

We 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.

14 Paintings, MODERN & CONTEMPORARY MIDDLE EASTERN ART, With Footnotes – 4

Laila Shawa, B. 1940, PALESTINIAN

THE ZAR (FROM THE WOMEN AND MAGIC SERIES), c. 1992

Acrylic on canvas

90.7 by 90.5cm.; 35¾ by 35½in

Private collection

The Zar is best described as a “healing cult” which uses drumming and dancing in its ceremonies. It also functions as a sharing of knowledge and charitable society among the women of these very patriarchal cultures. Most leaders of Zar are women, and most participants are women. Many writers have noted that while the majority of the possessing spirits are male, those possessed are generally female. This is not to say that the men do not contribute to zar ceremonies: they may help with drumming, the slaughter of ritual animals, or may themselves be a husband or relative required to make offerings to the possessing spirit. In fact, it is perhaps an unfortunate trend that in cultures where the zar becomes more visible, there is more of a tendency for men to co-opt the ceremonies, and for men to become zar leaders. More on The Zar

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.

Khadiga Riad, B.1914, EGYPTIAN

UNTITLED (NUBIA SCENE), c. 1952

Oil on canvas 

33 by 47cm.; 13 by 18 1/2 in.

Private collection

Nubia is a region along the Nile rivers encompassing the areas between what is today central Sudan and southern Egypt. It was the seat of one of the earliest civilizations of ancient Africa, with a history that can be traced from at least 2000 B.C., and was home to one of the African empires. Nubia became divided between Egypt and the Sennar sultanate, resulting in the Arabization of much of the Nubian population. Nubia was again united within Ottoman Egypt in the 19th century, and within the Kingdom of Egypt from 1899 to 1956. More on Nubia

Khadiga Riad,  born in 1914 in Cairo, Egypt, studied at the Mere de Dieu college and from 1950 to 1954. She is regarded as Egypt’s foremost female surrealist.

She followed an informal education in painting from the studio of the Armenian Egyptian artist Zorian between 1950 and 1955. In the 1950’s she won fame as she was awarded a prize in the 1959 Alexandria Biennale. In 1960 she exhibited in the Venice Biennale and in 1962 she won the first prize in a national Egyptian painting competition. 

Riad adopted an abstract style characterized by the heavy use of a multi-layered paints delicately treated on the surface to give an ethereal and surrealist dimension to her compositions. More on Khadiga Riad

Laila Shawa, B. 1940, PALESTINIAN

Birds of Paradise, 2011

Photography and mixed media on canvas

70 x 95cm

Private collection

Shawa’s multi-media pieces have spanned four decades. As someone who has a close proximity to her native Palestine’s politics, her analysis and documentation of events there is at the core of her work. For that, it is in strength that she is known for her “uncompromising documentation of events of today’s Middle East.”  More on Laila Shawa

Shawa uses freeze-frames from this awful footage, digitally combining them with imagery edited from cartoons, news footage and photographs of dolls who serve as mute puppets re-enacting the real-time political traumas of the present. These mixed media works see-saw between hyper-realism and surreal landscapes of the imagination; between stark representation and vivid interpretation; and between brutal distortion and fantasy-fuelled idealist aspiration. More on this work

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, 1919-2011, was born into a peasant family in the small village of Kafr Mansour. He received his primary and secondary education before becomings 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 Cairoi. 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 where the works of Italian Social Realist artists were being exhibited. In 1958, he was appointed a professor at the Faculty of Fine Arts in Alexandria. 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. More on Hamed Owais

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.

Executed circa 1987

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

Hossein Khosrojerdi, (Iran, born 1957)

Untitled

Acrylic and digital print on canvas

Numbered 2/5

127.9 x 98.8cm (50 3/8 x 38 7/8in).

Private collection

Hossein Khosrojerdi (Iran, born 1957), prominent artist of his generation and well-known in Iran, was born in 1957 in Iran and graduated from the Faculty of Fine Arts of Tehran University. He twice participated in the Triennale-India, was included in the Venice Biennale in 2003, received an award at the Sharjah Biennial in 2001 and has been a founding member of the Iranian Artists’ Association.  His body of work increasingly takes a strong abstract and geometric direction which has an impactful yet refined quality. While deeply rooted in his heritage as a person. More on Hossein Khosrojerdi

Hassan Hajjaj, (Morocco, born 1961)

Sista, c. 2000

c-print on board

129.8 x 94cm (51 1/8 x 37in).

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

 

Georges Hanna Sabbagh, 1877 – 1951, EGYPTIAN

THE MINARET OF IBN TULUN MOSQUE

signed and dated G.H. Sabbagh 1940

oil on canvas 

73 by 60cm.; 28 3/4 by 23 5/8 in

Private collection

The Mosque of Ibn Tulun is located in Cairo, Egypt. It is arguably the oldest mosque in the city surviving in its original form, and is the largest mosque in Cairo in terms of land area.

The mosque was commissioned by Ahmad ibn Tulun, the Turkic Abbassid governor of Egypt from 868–884 whose rule was characterized by de facto independence. The historian al-Maqrizi lists the mosque’s construction start date as 876 AD,[1] and the mosque’s original inscription slab identifies the date of completion as AH 265 (878/879). More on The Mosque of Ibn Tulun

Georges Hanna Sabbagh (1877–1951) was an Egyptian-born French artist, born at Alexandria to a Catholic family of Lebanese origin. He studied art in Paris, being the first Egyptian at the Louvre School. He was a pupil of Paul Sérusier, Félix Vallotton and the Symbolist painter Maurice Denis, and worked beside Amedeo Modigliani. His family and the region of Brittany provided him with subjects for many of his paintings, before trips to Egypt led him to rediscover the lights, landscapes and characters of his childhood. He excelled in portraits, nudes and landscapes both in France and in Egypt. A painter of talent, Georges Sabbagh forms one of the group of artists who Jean Cassou called “the sacrificed generation”, absorbing the school of Les Nabis, Fauvism and Cubism at the beginning of the century, but forgotten after the Second World War.  More on Georges Hanna Sabbagh

Georges Hanna Sabbagh, 1877 – 1951, EGYPTIAN

THE ASWAN CATARACT , c. 1925

Oil on canvas 

66 by 81.5cm.; 26 by 32in.

Private collection

The Aswan Low Dam or Old Aswan Dam is a gravity masonry buttress dam on the Nile River in Aswan, Egypt. The dam was built at the former first cataract of the Nile. When initially constructed between 1899 and 1902, nothing of its scale had ever been attempted; on completion, it was the largest masonry dam in the world. The dam was designed to provide storage of annual floodwater and augment dry season flows to support greater irrigation development and population growth in the lower Nile. The dam, originally limited in height by conservation concerns, worked as designed, but provided inadequate storage capacity for planned development and was raised twice, between 1907 and 1912 and again in 1929–1933. These heightenings still did not meet irrigation demands and in 1946 it was nearly over-topped in an effort to maximize pool elevation. This led to the investigation and construction of the Aswan High Dam 6 kilometres (3.7 mi) upstream. More on the Aswan Dam 

Georges Hanna Sabbagh, 1877 – 1951, EGYPTIAN, see above

Lalla Essaydi, Moroccan, b. 1956

Les Femmes du Maroc: Harem #11, 2009

Chromogenic prints (c-print) mounted on aluminum, in three parts

40 x 30 in. (101.6 x 76.2 cm.)

Private collection

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. More on Lalla Essaydi

Lalla Essaydi, Moroccan, b. 1956

Harem, #12

Private collection

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

LALLA ESSAYDI

Harem #15, 2009

Chromogenic print mounted to aluminum with a UV protective laminate

30 × 40 in, 76.2 × 101.6 cm

Edition of 15

Private collection

Harem a sacred inviolable place; for female members of the family. Harem properly refers to domestic spaces that are reserved for the women of the house in a Muslim family and are inaccessible to adult males except for close relations. Similar institutions have been common in other Mediterranean and Middle Eastern civilizations, especially among royal and upper-class families and the term is sometimes used in non-Islamic contexts. The structure of the harem and the extent of monogamy or polygamy has varied depending on the family’s personalities, socio-economic status, and local customs. A harem may house a man’s wife—or wives and concubines, as in royal harems of the past.

In the West, Orientalist imaginary conceptions of the harem as a fantasy world of forbidden sexuality where numerous women lounged in suggestive poses have influenced many paintings, stage productions, films and literary works. Several European Renaissance paintings dating to the 16th century defy Orientalist tropes and portray the women of the Ottoman harem as individuals of status and political significance. In many periods of Islamic history women in the harem exercised various degrees of political power. Harem. More on the Harem

More on Lalla Essaydi, above

Mahmoud Said, 1897-1964, EGYPTIAN

NU COUCHÉ AU DIVAN BLEU (NUDE LYING ON A BLUE SOFA), c. 1938

Oil on panel 

68 by 98cm.; 26 3/4 by 38 5/8 in

Private collection

Mahmoud Said, 1897-1964, EGYPTIAN. Born into a wealthy Alexandrian family, Mahmoud Said first studied jurisprudence at the French School of Law in Cairo in the 1910s. During his studies, he became interested in painting, and joined the studios of Italian painters Amelia Casonato da Forno and Arturo Zanieri, before travelling to France to study in Paris, briefly at the Académie Julian. Though he worked for almost thirty years as a lawyer and then a judge, he continued to paint in his free time until he quit law in the late 1940s and devoted himself to art completely. He is considered the foremost painter of the ‘Pioneer’ generation of Egyptian artists, renowned for his bold, richly coloured portraits, nudes, and landscapes. He painted continuously until his death in 1964.

 Said’s works are housed in private and public collections including Mathaf: Arab Museum of Modern Art, Doha; Museum of Modern Egyptian Art, Cairo; Mahmoud Said Museum, Alexandria, and Ministry of Culture, Egypt. More

 

Sohrab Sepehri,1928-1980,IRANIAN

UNTITLED (FROM THE TREE TRUNK SERIES) , c. 1972

oil on canvas 

97 by 126cm.; 38 1/8 by 49 1/2 in.

Private collection

Sohrab Sepehri (Persian: Sohrāb Sepehri‎‎) (October 7, 1928 – April 21, 1980) was a notable Iranian poet and a painter. He was born in Kashan, Iran. He is considered to be one of the five most famous Iranian poets who have practiced modern poetry. 

Sepehri was also one of Iran’s foremost modernist painters.

Well-versed in Buddhism, mysticism and Western traditions, he mingled the Western concepts with Eastern ones, thereby creating a kind of poetry unsurpassed in the history of Persian literature. To him, new forms were new means to express his thoughts and feelings.

His poetry has been translated into many languages including English, French, Spanish, German, Italian, Swedish, Arabic, Turkish and Russian. An English translation of his selected poems by Ali Salami appeared in 2003.

Sepehri died in Pars hospital in Tehran of leukemia. His poetry is full of humanity and concern for human values. He loved nature and refers to it frequently. More on Sohrab Sepehri,

Acknowledgement: BonhamsSotheby’s, and others


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