Art Collector: 53 Works, a Century of Middle Eastern Art Part II, with Subtitles 7/4/17, 1:37 PM
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A CENTURY of IRAQI ART PART II Wednesday 7 October 2015
A CENTURY OF IRAQI ART PART II Wednesday 7 October 2015 FRONT ENDPAPER A CENTURY OF IRAQI ART PART II Wednesday 7 October 2015, at 14:00 101 New Bond Street, London VIEWING BIDS ENQUIRIES CUSTOMER SERVICES Friday 2 October 2015 +44 (0) 20 7447 7447 Nima Sagharchi Monday to Friday 8:30 to 18:00 9:00 - 16:30 +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8342 +44 (0) 20 7447 7447 Saturday 3 October 2015 To bid via the internet please [email protected] 11:00 - 15:00 visit bonhams.com As a courtesy to intending Sunday 4 October 2015 Claire Penhallurick bidders, Bonhams will provide a 11:00 - 15:00 Please note that bids should be +44 (0) 20 7468 8249 written Indication of the physical Monday 5 October 2015 submitted no later than 16:00 [email protected] condition of lots in this sale if a 9:00-16:30 on the day prior to the sale. request is received up to 24 Tuesday 6 October 2015 New bidders must also provide Jonathan Horwich hours before the auction starts. 9:00-16:30 proof of identity when submitting Global Director, Picture Sales This written Indication is issued Wednesday 7 October 2015 bids. Failure to do this may result +44 (0) 20 7468 8280 subject to Clause 3 of the Notice 9:00 - 12:00 in your bid not being processed. [email protected] to Bidders. Telephone bidding can only be ILLUSTRATIONS SALE NUMBER PRESS ENQUIRIES accepted on lots with a Front cover: lot 26 23219 low-estimate in excess of £1000. -
Modern and Contemporary Art of the Middle East Beirut, 2 October 2018 This Page Lot 40 Modern and Contemporary Art of the Middle East
MODERN AND CONTEMPORARY ART OF THE MIDDLE EAST Beirut, 2 October 2018 THIS PAGE LOT 40 MODERN AND CONTEMPORARY ART OF THE MIDDLE EAST Viewing Saturday 29 September 2018 at 05:00 - 8:00 pm (cocktail reception) Sunday 30 September 2018 at 11:00 - 8:00 pm Monday 1 October 2018 at 11:00 - 8:00 pm Auction TUESDAY 2 OCTOBER 2018, At 7:00 PM LE GRAY Hotel Downtown, Beirut View catalogue online at www.artscoops.com Auctioneer EDWARD RISING Curator MAY MAMARBACHI Contact Raya MAMARBACHI Janet RADY Mounia ABOU RAHAL Phone: +961 (0)3 127 069 Phone: +44 (0)7957 284370 Phone: +961 70 926 913 Email: [email protected] Email: [email protected] Email: [email protected] May MAMARBACHI Laura LATI Phone: +961 (0)3 429 800 Phone: +1 (347) 697 3620 Email: [email protected] Email: [email protected] Front cover lot 20 Back cover lot 25 Inside back cover lot 35 2 MODERN AND CONTEMPORARY ART OF THE MIDDLE EAST 3 1 ASSADOUR (LEBANESE-ARMENIAN, B.1943) Aérolithes incribed ’q. d’essai (Ep. aquarellée)’ (lower left); titled ’Aérolithes’ (lower centre); signed and dated’1981 Assadour’ (lower right) etching, aquatint in colours 49.4 x 37 cm. Executed in 1981. US$ 750-1,000 provenance: Private Collection, Beirut. 3 2 ETEL ADNAN (LEBANESE, B.1925) ASSADOUR (LEBANESE-ARMENIAN, B.1943) Untitled (Adnan› (lower left عدنان › La Cité Anonyme signed watercolour on paper signed (lower right) 27 x 34.2 cm. etching Early work of the artist. 56.3 x 43.7 cm. Executed in 1981. US$ 4,000-6,000 US$ 800-1,500 provenance: Private Collection, Beirut. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnadon Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 A CONTEXTUAL ANALYSIS OF CONTEMPOEU^.RY IRAQI ART USING SIX CASE STUDIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Mohammed Al-Sadoun ***** The Ohio Sate University 1999 Dissertation Committee Approved by Dr. -
Hamed Abdalla in Arabe 1977, Women = Man 1970, Quo Vadis ? 46 X 37 Cm, Mixed Med on Wood 29,5 X 21 Cm, Stencil, Acrylique, Spray 48 X 36 Cm, Ink, Silk Paper
HHHAAAMMMEEEDDD AAABBBDDDAAALLLLLLAAA Cover 1962 Next page Hamed Abdalla in arabe 1977, Women = Man 1970, Quo Vadis ? 46 x 37 cm, mixed med on wood 29,5 x 21 cm, stencil, acrylique, spray 48 x 36 cm, ink, silk paper HAMED ABDALLA Story of a life HAMED ABDALLA (1917 – 1985) by Roula El Zein . His works of art tell of revolt and resistance, of injustice and hope, of fellahins and modest people. They speak of revolution, of equality between man 1951 – Le grand-père, 32 x 22cm, lithographie and woman, of death and spirituality… He drew his subjects from Egypt, his native land, from its Pharaonic, Coptic and Islamic past and from its everyday life in the streets and the coffee-houses… For more than fifty years, Hamed Abdalla worked relentlessly, leaving behind him a big amount of paintings, drawings and lithographs that witness today of an ongoing research and a creation that knew no boundaries. Moreover, Hamed Abdalla left many writings for beyond drawing and painting, the man cultivated his art theory and had a passion for philosophy. Several exhibition catalogs, dozens of interviews done in various languages, hundreds of newspaper articles, studies made by others on his work, and a large number of letters were recorded and kept by his family; a precious documentation that reveals the life and work of a great artist who was also a great humanist. 1954 – Autoportrait de l’artiste, 39.5 x 29.5 cm, Gouache 1983, Al Joua’ - Hunger, 65 x 50 cm, acrylique appreciated for his beautiful calligraphy. Since adolescence, he begins to draw. -
Iraqslogger: Artists Remember Celebrated Sculptor Iraqslogger © 2006 - 2019 All Rights Reserved
IraqSlogger: Artists Remember Celebrated Sculptor IraqSlogger © 2006 - 2019 All rights reserved. 7/19/19, 10(58 AM Artists Remember Celebrated Sculptor Jawad Selim's Monument Defines Baghdad's Tahrir Square The "Epic of Liberty" monument over Baghdad's Tahrir Square. Undated pre-2003 photo. By Maha Mohammed 02/04/2007 Baghdad, Apr 2, (VOI) -- The Monument of Liberty, which stands in the heart of Baghdad, is one of the capital's most significant symbols of art and a distinguishing feature in Iraqi cultural life. In fact, the monument is part of the memory of generations of Iraqis who consider it, along with Jawad Saleem, its sculptor, a memory of time and place. These days mark the 86th anniversary of the Iraqi artist’s birth. Saleem (1921-1961) was one of the most renowned sculptors in Iraq's modern history. http://iraqslogger.powweb.com/index.php/post/2194/Artists_Remember_Celebrated_Sculptor Page 1 of 6 IraqSlogger: Artists Remember Celebrated Sculptor 7/19/19, 10(58 AM Saleem was born in March into a family known for its love of art and drawing. His father, Hajj Saleem, and his siblings, Souad, Nizar and Naziha, were all plastic artists. Among his most prominent works was the Monument of Liberty, which now stands in Tahrir Square, in the center of Baghdad, and is regarded by many international artists as one of the most important monuments in the Middle East. Among his other achievements was the establishment of a group in Baghdad for Modern art. Saleem was also a founding member of the Iraqi Plastic Artists Society. -
The Iraqi National Museum of Modern Art: Journey of Destruction
The Iraqi National Museum of Modern Art: Journey of Destruction By Ali I. al-Dulaimi Region: Middle East & North Africa Global Research, May 22, 2019 Theme: History In-depth Report: IRAQ REPORT A glimpse of the plastic arts in Iraq The contemporary Iraqi plastic art is considered to be the legitimate heir of the ancient Iraqi civilizations of Sumer and Babylon. Relics have beem found indicating that the Iraqi craftsman is the first artist in the world. He is the one who creates and produces such beautiful household pottery pieces for functional purposes for eating, drinking and other daily uses. The Baghdad School of Art of Illustration was founded by Iraqi artist Yahya bin Mahmoud bin Yahya bin Abi al-Hassan al-Wasiti who laid down its pillars. Al-Wasiti lived in the seventh Hijri century and is considered to be at the forefront of Arab and Islamic creativity scene where the Islamic art of illustration could be straightened and become competitive. Then this School spread from Mesopotamia to all other Islamic countries. Al-Wasiti inspired others with his miniature manuscripts on which he painted topics and narrative facts from the collections of al-Hariri which were written by Abu Muhammad al-Qasim bin Ali bin Othman al-Basri, famous as “al-Hariri”. These collections are considered to be among the Arabic literary masterpieces due to their richness of material, accuracy of observation and unique imagination. Artist al-Wasiti completed illustrating and scripting these collections in 634 A.H./1237 A.D., and they are now treasured at several international museums and libraries. -
Frieze NYC 2018 Press Release
! Dastan is pleased to announce its participation in Frieze Art Fair New York 2018 with a presentation of works by Ardeshir Mohassess. The presentation will consist of a number of Mohassess’ drawings from the 1970s. Dastan has recently compiled and published a bilingual (Farsi/English) book incorporating the results of 3 years of research into the life and works of the artist, which will also be included in the presentation. Coming ten years after the Ardeshir Mohassess Retrospective in Asia Society Museum curated by Shirin Neshat and Nicky Nodjoumi, the presentation will seek to approach the artist’s work through the lens of New Historicism, while exploring it in relation to the power structure and society of different periods and reveal their evolutions. Traces of the artist's practice can still be found in the works of Iranian artists inside and outside Iran. The works in the presentation are selected from two of the artist’s series, “Vaqaye Etefaqie” (lit. ‘Current Events’) and “Shenasnameh” (lit. ‘Identity Card’). Ardeshir’s “Vaqaye Etefaqie” (1970-1971) uses states-people and aristocrats as subject matter and portrays them in their lavish lifestyles and pointless accomplishments. On the other hand, “Shenasnameh” (1972) presents a world of Ardeshir’s frail figures, broken and tortured under cruelty and oppression. When viewed together, these two series depict a picture of the era’s socio-political landscape —a turmoil that arguably reached its boiling point in the form of the 1979 revolution. In the words of the late Iranian poet, writer and journalist, Ahmad Shamlu (1925-2000), “Ardeshir’s typical human beings, i.e. -
Naser Hassan AI-Rifaei
The Principle of Movement in Moroccan Design; as a source of inspiration for contemporary artistic applications Practice-based research in Art and Design Naser Hassan AI-Rifaei A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctor of Philosophy March 2009 University of Brighton Abstract This project focuses on utilizing the principle of movement contained in traditional Moroccan design (PMMD) for the production of new and inventive artworks. The PMMD is one of the main concepts that rules the creation and construction of design elements; it consists of a group of advanced technical procedures applied to achieve the highest levels of unity, harmony, variation and rhythm between lines and shapes. Great consideration in the PMMD is given to the viewer's perception, as all parts are formed to be equally interesting and to work harmoniously together suggesting ways for the viewer's eye to interact with and move in and throughout the composition. The purpose of this research is to examine viable methods for stimulating new ideas by taking the aesthetic and technical significances of the PMMD as a source of creative inspiration. The work involved analyzing the relationship between form, method and perception in traditional compositions by exploring the role of PMMD in 1) the process of creating and shaping design elements separately, 2) methods of relating the lines and shapes of different design components. Data on PMMD was collected from recent literature on Islamic art and Moroccan design, from interviews with master-craftsmen, and from my personal analyses and observations. -
University Microfilms, Inc., Ann Arbor, Michigan ARABIC CALLIGRAPHY in CONTEMPORARY EGYPTIAN
This dissertation has been microfilmed exactly as received 66-6296 SIDA, Youssef Mohamed Ali, 1922- ARABIC CALLIGRAPHY IN CONTEMPORARY EGYPTIAN MURALS, WITH AN ESSAY ON ARAB TRADITION AND ART. The Ohio State University, Ph.D., 1965 Fine Arts University Microfilms, Inc., Ann Arbor, Michigan ARABIC CALLIGRAPHY IN CONTEMPORARY EGYPTIAN MURALS .WITH AN ESSAY ON ARAB TRADITION AND ART DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Youssef Mohamed Ali Sida, M. Ed. 4c * * * * * The Ohio State University 1965 / Approved by ) Adviser School of Fine and Applied Arts ACKNOWLEDGMENTS I wish to acknowledge my deepest gratitude to the professors and friends who encouraged and inspired me, who gave their pri vate time willingly, who supported me with their thoughts whenever they felt my need, and especially to all the members of my Graduate Committee, Professor Hoyt Sherman, Professor Franklin Ludden, Professor Francis Utley, Professor Robert King, and Professor Paul Bogatay. ii CONTENTS Page ACKNOWLEDGMENTS.............................. ii ILLUSTRATIONS................................................................................... v INTRODUCTION................................................................................... 1 Chapter I. CONTEMPORARY ART OF THE UNITED ARAB REPUBLIC.............................. 4 The Pioneers of Contemporary Egyptian Art Artists of the School of Fine Arts Artists of the School of Decorative Arts (The School of Applied Arts) The "free artists" The Pioneers of Art Education The Pioneers of Art Criticism The Art Movements Types of Contemporary Art Criticism in the United Arab Republic Summary H. ARA B NA TIONALISM AND ARA B CULTURE................ 21 Definition of nationalism Arab Faith and Culture The Influence of Cultures The Islam Influence on the Arts Summary Chapter Page m. -
Cultural Continuity in Modern Iraqi Painting Between 1950- 1980
Vol.14/No.47/May 2017 Received 2016/06/13 Accepted 2016/11/02 Persian translation of this paper entitled: تداوم فرهنگی در نقاشی مدرن عراق بین سال های 1950 و 1980 is also published in this issue of journal. Cultural Continuity in Modern Iraqi Painting between 1950- 1980 Shakiba Sharifian* Mehdi Mohammadzade** Silvia Naef*** Mostafa Mehraeen**** Abstract Since the early years of 1950, which represent the development period of modern Iraqi art, the “return to the roots” movement has been an impartible mainstream in Iraq. The first generation of modern artists like Jewad Salim and Shakir Hassan Al-Said considered “cultural continuity” and the link between “tradition and modernity” and “inspiration from heritage1” as the main essence of their artistic creation and bequeathed this approach to their next generation. Having analyzed and described a selection of artworks of modern Iraqi artists, this paper discusses the evolution of modern Iraqi art, and aims to determine cultural and artistic continuity in modern paintings of Iraq. It also seeks to answer the questions that investigate the socio-cultural factors that underlie the formation of art and establish a link between traditional and modern ideas and lead to continuity in tradition. Therefore, the research hypothesis is put to scrutiny on the basis of Robert wuthnow’s theory. According to Wuthnow, although configuration and the objective production of this movement is rooted in the “mobilization of resources”, the artistic content and approach of the painting movement (i.e. the continuation of the tradition along with addressing modern ideas) is influenced by factors such as “social Horizon”, “existing discursive context” and “cultural capital” of the painters. -
Auction - Modern Watercolors, Sketches, and Lithographs 01/22/2020 7:00 PM GST
Auction - Modern Watercolors, Sketches, and Lithographs 01/22/2020 7:00 PM GST Lot Title/Description Lot Title/Description 1 "Camera Studies in Iraq" 15 Jewad Salim. Paris. Sketch. A photograph album by Hasso Bros. Baghdad. 1925. Jawad Salim. Paris. Sketch.Approx. Dim.: 42 x 34.5cm JAWAD SALIM - "Camera Studies in Iraq"A photograph album by Hasso Bros. Baghdad. 1919 – 1961, Iraq,was an Iraqi painter and sculptor born in Ankara 1925.Approx. Dim.: 31.5 x 25cm (Turkey) in 1919. He studied sculpture in Paris (1938-1939), Rome Est. 6,000 - 12,000 (1939-1940) and London (1946-1948). Upon completing his studies, 2 A symphony composed on the death of King Faisal I of Iraq by the Salim returned to Iraq and was appointed head of the Sculpture musical composer Farid Sabri and gifted to King Ghazi. Printed in Department at the Institute of Fine Arts in Baghdad, a position he Damascus. 1933. retained until his death in 1961. He also founded the Jama'et Baghdad lil A symphony composed on the death of King Faisal I of Iraq by the Fen al-Hadith (The Baghdad Modern Art Group) with fellow artist Shakir musical composer Farid Sabri and gifted to King Ghazi. Printed in Hassan Al Said, as well as the new Baghdad School of Modern Art. He Damascus. 1933.Approx. Dim.: 49 x 34.5cm is especially known for his Nasb al-Hurriyah (Monument of Freedom), Est. 5,500 - 10,500 located in one of Baghdad's main squares. In this monument, the artist 3 A photograph of King Faisal I of Iraq. -
The French Revolution in the French-Algerian War (1954-1962): Historical Analogy and the Limits of French Historical Reason
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 The French Revolution in the French-Algerian War (1954-1962): Historical Analogy and the Limits of French Historical Reason Timothy Scott Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1424 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE FRENCH REVOLUTION IN THE FRENCH-ALGERIAN WAR (1954-1962): HISTORICAL ANALOGY AND THE LIMITS OF FRENCH HISTORICAL REASON By Timothy Scott Johnson A dissertation submitted to the Graduate Faculty in History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 TIMOTHY SCOTT JOHNSON All Rights Reserved ii The French Revolution in the French-Algerian War (1954-1962): Historical Analogy and the Limits of French Historical Reason by Timothy Scott Johnson This manuscript has been read and accepted for the Graduate Faculty in History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Richard Wolin, Distinguished Professor of History, The Graduate Center, CUNY _______________________ _______________________________________________ Date Chair of Examining Committee _______________________