Safwan Dahoul, UNTITLED 01 Painting, MIDDLE EASTERN ART, With Footnotes – 36

Safwan Dahoul, B. 1961, SYRIAN
UNTITLED

Oil and gold leaf on wood
25 by 20cm.; 9 7/8 by 7 7/8 in.
Private collection

Safwan Dahoul, 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.

Since the late 1980s, Dahoul’s ongoing Dream series has explored the physical and psychological effects of alienation, solitude, and longing that punctuate the human experience at various stages in life. Partly autobiographical, this seminal body of work uses the formal properties of painting to recreate the subconscious sense of enclosure that surfaces during times of crisis. The artist’s recurring female protagonist facilitates this visceral experience through her contorted body, often-vacant eyes, and minimised yet monumental physicality. Depicted in the confinement of ambiguous settings, her presence is defined by the placement of various objects that seem to deepen the state of her disaffection, as even the familiar becomes a trigger of distress. More on Safwan Dahoul

Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceAnd visit my Boards on Pinterest

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

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

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

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

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


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

Safwan Dahoul, Reve/ Dream 01 Painting, MODERN & CONTEMPORARY MIDDLE EASTERN ART, With Footnotes – 2o

Safwan Dahoul (Syria, born 1961)
Reve/ Dream

acrylic on canvas
180 x 179cm (70 7/8 x 70 1/2in).
Private collection


Safwan Dahoul completed his first Dream in 1987, he has painted the same woman in the same muted monochromatic colours on what he assumes has been more than 1,000 canvases (although he never kept count). Every time, he titled it Dream. More on Dream

Safwan Dahoul was born in Hama, Syria in 1961.  He graduated from the Fine Arts Faculty of Damascus in 1985 and continued his experimentation and education till 1997 when he was awarded a Doctorate in Plastic Arts from the Higher Plastic Arts Institute of Mons, Belgium. During his career, Safwan has exhibited and sold out most of his solo shows throughout the Middle East and Europe. More on Safwan Dahoul

Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceAnd visit my Boards on Pinterest

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

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

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

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

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

07 Paintings, MODERN & CONTEMPORARY MIDDLE EASTERN ART, With Footnotes – 5

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

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

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[2] and a member of the Bahá’í Faith. More on Hussein Bikar

Adham Wanly, 1908-1959, EGYPTIAN

CHEVEAUX HONGROIS AU CIRQUE (HUNGARIAN HORSE AT THE CIRCUS), c. 1953

Oil on panel

53 by 74cm.; 20 7/8 by 29 1/8 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

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.[12]

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 

Shakir Hassan Al-Said, 1925-2004, IRAQI

UNTITLED (MAN AND HORSE, c. 1950

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), see above

Mostafa Abdel Moity, B. 1938, EGYPTIAN

NN51, c. 1967

Paper collage, acrylic, fabric, nails and felt pen on wood panel

120 by 77.7cm.; 47¼ by 30½in

Private collection

Born in Alexandria, Egypt in 1938, Mostafa Abdel Moity got his degree from the Academy of Fine Arts in Alexandria in 1962, and immediately began teaching as a faculty member at the academy and has continued to do so ever since. He was Vice President of the World Congress of Contemporary Art in Venice in 1985, and the Head of the Egyptian Academy in Rome in 1988.

Mostafa Abdel Moity’s early works had touches of the figurative and the recognizable, with his style developing and evolving into distinctly abstracted paintings and sculptures characterized by aggressive bold lines and blocks of vibrant colors. Circles and triangles are used extensively in his work, together with other geometrical patterns, evoking notions of outer space and infinity. More on Mostafa Abdel Moity

Acknowledgement: Sotheby’s, and others

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.

12 Paintings, MODERN & CONTEMPORARY MIDDLE EASTERN ART, With Footnotes – 3

 Published in Bonestéve, printed by Henri Baconnier, Algiers

Lithograph

Dimensions: 32 x 41 cm

Private Collection

Lithograph depicting the family tree of Prophet Muhammad. With two windows on either side of the tree depicting holy scenes of Ka’aba and the tomb and mosque of the Prophet.

Lalla Essaydi, (Moroccan, b. 1956) 

Converging Territories #38, c. 2003

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

Private Collection

Lalla Essaydi’s (Moroccan, b. 1956) work delves into the complexity of identity and is deeply influenced by her personal experiences. Blending Western aesthetic with Orientalist imagery, she works in a variety of mediums. Essaydi’s work is included in the permanent collections of the Louvre, Paris, France; the Chicago Art Institute; the National Gallery of Art, Washington, D.C.; the Los  Angeles County Museum of Art; among others. More Lalla Essaydi

 Aydin Aghdashloo, (Iran, born 1940)

Memories of Destruction, c. 2010

Oil on canvas

200 x 140cm (78 3/4 x 55 1/8in).

Private Collection

Aydin Aghdashloo (born October 30, 1940) is an Iranian painter, graphist, writer, film critic and one of the known artists of Iranian modern and contemporary art. His art works are known for showing the thought of gradual death and doom and also recreating remarkable classic works in a modern and surreal form. His two series Termination Memories and Years of Fire and Snow (below) are considered part of the most important series of modern Iranian art.

Aydin Aghdashloo, (Iran, born 1940) 

Memories of Ice & Fire III

from the series Memories of Devastation, 1980

Private Collection


Aghdashloo began designing, graphics and painting since adolescence and became the painter of Iranian textbooks, magazines and private institutions in youth. For a while, he directed the cultural and artistic affairs of “Special Office of Queen Farah Pahlavi” and helped collecting Iranian and global artworks. He was also involved in launching Tehran Museum of Contemporary Art and Reza Abbasi Museum, and directed the latter for a while. After the revolution, Aghdashloo is considered one of the most famous painting masters for the third generation modern Iranian painters. More on Aydin Aghdashloo

Aydin Aghdashloo, (Iran, born 1940) 

Enigma VII, Enigma VIII

 Gouache on Board

56 X 76 cm (each)

Private Collection

 

Abdul Kadir Al Rassam, (Iraq, 1882-1952)

Taq-i Kisra

Oil on canvas

22.9 x 28.5cm (9 x 11 1/4in).

Private UK collection.

The Taq-i Kisra is the only remaining visible structure found in the ancient city of Ctesiphon and was constructed during the reign of the Persian King Khosrau I around 540 A.D. The arch was part of the Imperial palace complex and was the largest to be built in the Persian Empire, standing thirty meters high.

Ctesiphon was located on the east bank of the river Tigris, around 35km south of the Iraqi capital Baghdad and functioned as the capital of both the Parthian and Sassanian Empires before being abandoned around the 8th century. More on Taq-i Kisra

Charles Hossein Zenderoudi, (Iran, b. 1937)

Untitled

Oil and metallic paint on canvas

,146 x 97cm (57 1/2 x 38 3/16in).

Private Collection

Michel Tapié was an important critic in the post-war French art scene. In 1952 he introduced a key concept, that of L’Art Autre (other art), in which he explained that over and above representation, one has to change one’s value system in order to appreciate art. 


This was Tapié’s discovery of the Iranian avant-garde of which Zenderoudi was at the forefront. The encounter was significant to the extent that Tapié became Zenderoudi’s advisor between 1971 and 1975, “La Maison de l’Iran”, Galerie Cyrus. For Tapié, Middle Eastern calligraphy had an abstract power which offered ‘abstract spaces’, making it a striking art form during these years of turbulence in aesthetics. In this turbulence he saw not a break but a continuity with the past in the midst of the ever-changing values of the present day. More on this work


Charles Hossein Zenderoudi (born 1937 Tehran) is an Iranian painter and sculptor, known especially as a pioneer of Iranian modern art.


Zenderoudi went to the College of Fine Arts and the College of Decorative Arts in Tehran and has had work exhibited in various parts of the world including Paris (1959-1563), Tehran (1960-1966), Sao Paulo (1963), and Venice (1964). The influence of Iranian Shi’ite folk art was seen in his exhibition at the Third Tehrān Biennale; the works were made up of geometric shapes and decorated with calligraphy. In fact, the term Saqqakhana was first used by the Iranian critic Karim Emami to describe Zenderoudi’s art. Zenderoudi’s interest in calligraphy was developed further in his works of the late 1960s and 1970s. More on Charles Hossein Zenderoudi 

Lorna Selim, (Iraq, born 1928)

Three Spirits, c. 1966

Oil on board

44.4 x 34.2cm (17 1/2 x 13 7/16in).

Private Collection

Samir Rafi, (Egypt, 1926-2004)

Untitled, c. 1873

Oil and pencil on board

98.5 x 79.8cm (38 3/4 x 31 7/16in).

Private Collection

Samir Rafi’s  (Egypt, 1926-2004) talent was discovered early on in his life which prompted his teacher Hussein Youssef Amin, the founder of the ‘Group of Contemporary Arts’, to organize the artist’s first exhibition in 1943. A work from this exhibition was acquired by the Art Museum of the Ministry of Education. Rafi continued his education and graduated from the Faculty of Fine Arts, Cairo in 1948. 


In the late 1940s Rafi joined Amin’s Group of Contemporary Arts. The artistic objective of the members was to employ authentic Egyptian traditions in their art by applying popular symbols and philosophy, in order to counter imported and Orientalist trends, thus producing an indigenous form of contemporary art. Rafi’s works of the 1950’s were described as fresh, vibrant and daring.


Unlike his contemporaries, Rafi’s works do not include elements of traditional Egyptian culture and symbology. Most of his work revolves around the relationships between men and women in a cosmopolitan environment.

Throughout his career Rafi repeated the subject matter of the woman figure with a wolf which was intended to symbolize unfaithfulness. Many of his paintings reflected an angry and serious theme. In the current work he has chosen to merge the faces of the wolf and the woman in a very distinct surrealist style. More on Samir Rafi’s 

Adel El-Siwi, (Egypt, born 1952)

Umm Kalthom, c. 2007

Acrylic on canvas laid down on board

170 x 140cm (66 15/16 x 55 1/8in).

Private Collection

Umm Kulthum (December 31, 1898, or May 4, 1904, died February 3, 1975) was an internationally famous Egyptian singer, songwriter, and film actress active from the 1920s to the 1970s. She was given the honorific title Kawkab al-Sharq (“Star of the East”). Known for her extraordinary vocal ability and style, Umm Kulthum was one of the greatest and most influential Arab singers of the 20th century. She has sold over 80 million records worldwide. More no Umm Kulthum


Adel El Siwi born in 1952 in Beheira, Egypt. He studied medicine at Cairo University between 1970 and 1976, but simultaneously indulged in independent study at the faculty of fine arts between 1974 and 1975. In 1980 he relocated to Milan in Italy, where he lived and worked for a decade before moving back to Cairo, where he continues to live and work.

His work has been included in a number of group exhibitions. He was invited by “Le Laboratoire: Sculpture Urbaine” to project his work onto historical buildings in Rio de Janeiro, Brazil (1996), Grenoble, France (2000), Alger, Algeria, (2003).

In addition to his career as a visual artist, El Siwi has translated numerous art historical texts into Arabic by artists such as Leonardo da Vinci and Paul Klee. More on Adel El Siwi

 Safwan Dahoul, (Syria, born 1961)

Reve/ Dream, c. 2007

Acrylic on canvas

80 x 179cm (70 7/8 x 70 1/2in).

Private Collection


Safwan Dahoul, 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.

Since the late 1980s, Dahoul’s ongoing Dream series has explored the physical and psychological effects of alienation, solitude, and longing that punctuate the human experience at various stages in life. Partly autobiographical, this seminal body of work uses the formal properties of painting to recreate the subconscious sense of enclosure that surfaces during times of crisis. The artist’s recurring female protagonist facilitates this visceral experience through her contorted body, often-vacant eyes, and minimised yet monumental physicality. Depicted in the confinement of ambiguous settings, her presence is defined by the placement of various objects that seem to deepen the state of her disaffection, as even the familiar becomes a trigger of distress. More on Safwan Dahoul

Bahman Jalali, (Iran, born 1944)

Untitled

Reverse oil painting and silkscreen print on chemically altered mirror

68.7 x 68.6cm (27 1/16 x 27in)

Private Collection

Bahman Jalali (1944 – 15 January 2010) was an Iranian photographer who played a significant role in educating a new generation of Iranian photographers. He taught photography at several universities in Iran over a 30-year period.


Jalali graduated with a degree in Economics from Melli University in Tehran, then started his career as a photographer in 1972. In 1974 he joined the Royal Photographic Society in Great Britain. He is best known for his documentary photographs from the Iranian Revolution in 1979 and from the Iran-Iraq war, but after the revolution he focused more on teaching photography at Iranian universities than practicing it. Jalali was a founding member and curator at the Museum of Photography in Tehran.

Bahman Jalali (Iran, born 1944)

Image of Imagination 2, c. 2000-2008

Archival digital pigment print

31 1/2 × 31 1/2 in, 80 × 80 cm

Private Collection


His last work was a photo series called “Image of Imaginations” (above), which took three years (2003–2006) for him to complete. The Museum of Fine Arts in Nantes bought this photo series for their collection.


Jalali was given a special homage for his forty-year career in photography by the Fundació Antoni Tàpies in Barcelona. He was a contributor to the exhibition in the British Museum, London, “Word into Art : Artists of the Modern Middle East” in 2006.


Until the end of his life, Jalali was a member of the editorial board for Aksnameh, a bi-monthly journal of photography in Tehran.


The veteran photographer was being treated for pancreatic cancer in Germany. He returned to his home in Tehran on 14 January 2010 and died the next morning at the age of 65. More on Bahman Jalali

Acknowledgement: Albahie Auction HouseBonhams and others


Images are copyright of their respective owners, assignees or others


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