AZIZ ART January 2018
Rembrandt Nasrollah Kasraian
Hayv Kahraman Competition Inspiringiranians Dr Aziz Anzabi
1-Rembrandt 13-Nasrollah Kasraian 16-Dr Aziz Anzabi 18-Competition 19-Hayv Kahraman
Director: Aziz Anzabi Editor : Nafiseh Yaghoubi Translator : Asra Yaghoubi Research: Zohreh Nazari
http://www.aziz_anzabi.com
Rembrandt Harmenszoon van Rijn was considerably influenced 15 July 1606 -- 4 October 1669 by the work of the Italian masters was a Dutch draughtsman, painter, and Netherlandish artists who had and printmaker. An innovative and studied in Italy, like Pieter Lastman, prolific master in three media, he is the Utrecht Caravaggists, and generally considered one of the Flemish Baroque Peter Paul greatest visual artists in the history Rubens. Having achieved youthful of art and the most important in success as a portrait painter, Dutch art history. Unlike most Rembrandt's later years were Dutch masters of the 17th century, marked by personal tragedy and Rembrandt's works depict a wide financial hardships. Yet his etchings range of style and subject matter, and paintings were popular from portraits and self-portraits to throughout his lifetime, his landscapes, genre scenes, reputation as an artist remained allegorical and historical scenes, high, and for twenty years he biblical and mythological themes taught many important Dutch as well as animal studies. His painters. contributions to art came in a Rembrandt's portraits of his period of great wealth and contemporaries, self-portraits and cultural achievement that illustrations of scenes from the historians call the Dutch Golden Bible are regarded as his greatest Age, when Dutch art although in creative triumphs. His self-portraits many ways antithetical to the form a unique and intimate Baroque style that dominated biography, in which the artist Europe, was extremely prolific and surveyed himself without vanity innovative, and gave rise to and with the utmost important new genres. Like many sincerity.Rembrandt's foremost artists of the Dutch Golden Age, contribution in the history of such as Jan Vermeer of Delft, printmaking was his transformation Rembrandt was also known as an of the etching process from a avid art collector and dealer. relatively new reproductive Rembrandt never went abroad, technique into a true art form, 1 but he along with Jacques Callot.
His reputation as the greatest Reformed churches in Amsterdam: etcher in the history of the medium four in the Oude Kerk and one, was established in his lifetime and Titus, in the Zuiderkerk never questioned since. Few of his As a boy he attended Latin school. paintings left the Dutch Republic At the age of 14, he was enrolled at whilst he lived, but his prints were the University of Leiden, although circulated throughout Europe, and according to a contemporary he his wider reputation was initially had a greater inclination towards based on them alone. painting; he was soon apprenticed Life to a Leiden history painter, Jacob Rembrandt Harmenszoon van Rijn van Swanenburgh, with whom he was born on 15 July 1606 in spent three years.After a brief but Leiden, in the Dutch Republic, important apprenticeship of six now the Netherlands. He was the months with the painter Pieter ninth child born to Harmen Lastman in Amsterdam, Rembrandt Gerritszoon van Rijn and Neeltgen stayed a few months with Jacob Willemsdochter van Zuijtbrouck. Pynas and then started his own His family was quite well-to-do; workshop, though Simon van his father was a miller and his Leeuwen claimed that Joris van mother was a baker's daughter. Schooten taught Rembrandt in Religion is a central theme in Leiden.Unlike many of his Rembrandt's paintings and the contemporaries who traveled to religiously fraught period in which Italy as part of their artistic training, he lived makes his faith a matter of Rembrandt never left the Dutch interest. His mother was Roman Republic during his lifetime. Catholic, and his father belonged to the Dutch Reformed He opened a studio in Leiden in Church. While his work reveals 1624 or 1625, which he shared with deep Christian faith, there is no friend and colleague Jan Lievens. In evidence that Rembrandt formally 1627, Rembrandt began to accept belonged to any church, although students, among them Gerrit Dou he had five in 1628. of his children christened in Dutch
In 1629, Rembrandt was discovered by the statesman Constantijn Huygens (father of the Dutch mathematician and physicist Christiaan Huygens), who procured for Rembrandt important commissions from the court of The Hague. As a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646. At the end of 1631 Rembrandt moved to Amsterdam, then rapidly expanding as the new business capital of the Netherlands, and began to practice as a professional portraitist for the first time, with great success. He initially stayed with an art dealer, Hendrick van Uylenburgh, and in 1634, married Hendrick's cousin, Saskia van Uylenburgh.Saskia came from a good family: her father had been a lawyer and the burgemeester (mayor) of Leeuwarden. When Saskia, as the youngest daughter, became an orphan, she lived with an older sister in Het Bildt. Rembrandt and Saskia were married in the local church of St. Annaparochie without the presence of Rembrandt's
relatives.In the same year, Rembrandt became a burgess of Amsterdam and a member of the local guild of painters. He also acquired a number of students, among them Ferdinand Bol and Govert Flinck. In 1635, Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat. In 1639 they moved to a prominent newly built house (now the Rembrandt House Museum) in the upscale 'Breestraat' (eng.: 'Broadway'), today known as Jodenbreestraat (Jodenbreestraat 4,1011 NK Amsterdam-now) in what was becoming the Jewish quarter; then a young upcoming neighborhood. The mortgage to finance the 13,000 guilder purchase would be a primary cause for later financial difficulties.Rembrandt should easily have been able to pay the house off with his large income, but it appears his spending always kept pace with his income, and he may have made some unsuccessful investments.It was there that Rembrandt frequently sought his Jewish neighbors to model for his
Old Testament scenes.Although they were by now affluent, the couple suffered several personal setbacks; their son Rumbartus died two months after his birth in 1635 and their daughter Cornelia died at just three weeks of age in 1638. In 1640, they had a second daughter, also named Cornelia, who died after living barely over a month. Only their fourth child, Titus, who was born in 1641, survived into adulthood. Saskia died in 1642 soon after Titus's birth, probably from tuberculosis. Rembrandt's drawings of her on her sick and death bed are among his most moving works During Saskia's illness, Geertje Dircx was hired as Titus' caretaker and nurse and also became Rembrandt's lover. She would later charge Rembrandt with breach of promise (a euphemism for seduction under [breached] promise to marry) and was awarded alimony of 200 guilders a year.Rembrandt worked to have her committed for twelve years to an asylum or poorhouse at Gouda, after learning she had pawned
jewelry he had given her that once belonged to Saskia. In the late 1640s Rembrandt began a relationship with the much younger Hendrickje Stoffels, who had initially been his maid. In 1654 they had a daughter, Cornelia, bringing Hendrickje a summons from the Reformed Church to answer the charge "that she had committed the acts of a whore with Rembrandt the painter". She admitted this and was banned from receiving communion. Rembrandt was not summoned to appear for the Church council because he was not a member of the Reformed Church.The two were considered legally wed under common law, but Rembrandt had not married Hendrickje. Had he remarried he would have lost access to a trust set up for Titus in Saskia's will. Rembrandt lived beyond his means, buying art prints and rarities, which probably caused a court arrangement to avoid his bankruptcy in 1656, by selling most of his paintings and large collection of antiquities.
The sale list survives and gives us a good insight into Rembrandt's collections, which, apart from Old Master paintings and drawings, included busts of the Roman Emperors, suits of Japanese armor among many objects from Asia, and collections of natural history and minerals. But the prices realized in the sales in 1657 and 1658 were disappointing.Rembrandt was forced to sell his house and his printing-press and move to more modest accommodation on the Rozengracht in 1660. The authorities and his creditors were generally accommodating to him, except for the Amsterdam painters' guild, which introduced a new rule that no one in Rembrandt's circumstances could trade as a painter. To get around this, Hendrickje and Titus set up a business as art dealers in 1660, with Rembrandt as an employee. Rembrandt Memorial Marker Westerkerk Amsterdam In 1661 Rembrandt was contracted to complete work for the newly built city hall, but only after Govert Flinck, the artist previously commissioned, died
without beginning to paint. The resulting work, The Conspiracy of Claudius Civilis, was rejected and returned to the painter; the surviving fragment is only a fraction of the whole work. It was around this time that Rembrandt took on his last apprentice, Aert de Gelder. In 1662 he was still fulfilling major commissions for portraits and other works.When Cosimo III de' Medici, Grand Duke of Tuscany came to Amsterdam in 1667, he visited Rembrandt at his house. Rembrandt outlived both Hendrickje, who died in 1663, and Titus, who died in 1668, leaving a baby daughter. He died within a year of his son, on 4 October 1669 in Amsterdam, and was buried as a poor man. in an unknown grave in the Westerkerk. It was in a numbered 'kerkgraf' somewhere under a tombstone in the church. After twenty years, his remains were taken away and destroyed, as was customary with the remains of poor people at the time. Works In a letter to Huygens, Rembrandt offered the only surviving explanation of what he sought to achieve through his art:
the greatest and most natural movement, translated from de meeste en de natuurlijkste beweegelijkheid.. The word "beweegelijkheid" is also argued to mean "emotion" or "motive". Whether this refers to objectives, material or otherwise, is open to interpretation; either way, critics have drawn particular attention to the way Rembrandt seamlessly melded the earthly and spiritual. Earlier 20th century connoisseurs claimed Rembrandt had produced well over 600 paintings,nearly 400 etchings and 2,000 drawings. More recent scholarship, from the 1960s to the present day often controversially, has winnowed his oeuvre to nearer 300 paintings. His prints, traditionally all called etchings, although many are produced in whole or part by engraving and sometimes drypoint, have a much more stable total of slightly under 300. It is likely Rembrandt made many more drawings in his lifetime than 2,000, but those extant are more rare than presumed. Two experts claim that the number of drawings whose autograph status can be
this is disputed. The list was to be unveiled at a scholarly meeting in February 2010.
At one time about ninety paintings were counted as Rembrandt selfportraits, but it is now known that he had his students copy his own self-portraits as part of their training. Modern scholarship has reduced the autograph count to over forty paintings, as well as a few drawings and thirty-one etchings, which include many of the most remarkable images of the group.Some show him posing in quasi-historical fancy dress, or pulling faces at himself. His oil paintings trace the progress from an uncertain young man, through the dapper and very successful portrait-painter of the 1630s, to the troubled but massively powerful portraits of his old age. Together they give a remarkably clear picture of the man, his appearance and his psychological make-up, as revealed by his richly weathered face.
In his portraits and self-portraits, his contemporaries often displayed, he angles the sitter's face in and a deeply felt compassion for such a way that the ridge of the nose nearly always forms the line mankind, irrespective of wealth of demarcation between brightly and age. His immediate family—his illuminated and shadowy areas. wife Saskia, his son Titus and his A Rembrandt face is a face partially common-law wife Hendrickje— eclipsed; and the nose, bright and often figured prominently in his obvious, thrusting into the riddle paintings, many of which had of halftones, serves to focus the mythical, biblical or historical viewer's attention upon, and to themes. dramatize, the division between a flood of light—an overwhelming Drawings by Rembrandt and his clarity—and a brooding duskiness. pupils have been extensively In a number of biblical works, studied by many artists and including The Raising of the scholars through the centuries. His Cross, Joseph Telling His Dreams original draughtsmanship has been and The Stoning of Saint Stephen, described as an individualistic art Rembrandt painted himself as a style that was very similar to East character in the crowd. Durham Asian old masters, most notably suggests that this was because the Chinese masters: a "combination of Bible was for Rembrandt formal clarity and calligraphic "a kind of diary, an account of vitality in the movement of pen or moments in his own life". brush that is closer to Chinese painting in technique and feeling Among the more prominent than to anything in European art characteristics of Rembrandt's before the twentieth century" work are his use of chiaroscuro, the theatrical employment of light and shadow derived from Caravaggio, or, more likely, from the Dutch Caravaggisti, but adapted for very personal means
Periods, themes and styles Throughout his career Rembrandt took as his primary subjects the themes of portraiture, landscape and narrative painting. For the last, he was especially praised by his contemporaries, who extolled him as a masterly interpreter of biblical stories for his skill in representing emotions and attention to detail. Stylistically, his paintings progressed from the early "smooth" manner, characterized by fine technique in the portrayal of illusionistic form, to the late "rough" treatment of richly variegated paint surfaces, which allowed for an illusionism of form suggested by the tactile quality of the paint itself. A parallel development may be seen in Rembrandt's skill as a printmaker. In the etchings of his maturity, particularly from the late 1640s onward, the freedom and breadth of his drawings and paintings found expression in the print medium as well. The works encompass a wide range of subject matter and technique, sometimes leaving large areas of white paper to suggest space, at other times employing complex
It was during Rembrandt's Leiden period (1625–1631) that Lastman's influence was most prominent. It is also likely that at this time Lievens had a strong impact on his work as well. Paintings were rather small, but rich in details. Religious and allegorical themes were favored, as were tronies. In 1626 Rembrandt produced his first etchings, the wide dissemination of which would largely account for his international fame.In 1629 he completed Judas Repentant, Returning the Pieces of Silver and The Artist in His Studio, works that evidence his interest in the handling of light and variety of paint application, and constitute the first major progress in his development as a painter. During his early years in Amsterdam (1632–1636), Rembrandt began to paint dramatic biblical and mythological scenes in high contrast and of large format , seeking to emulate the baroque style of Rubens.With the occasional help of assistants in Uylenburgh's workshop, he painted numerous portrait commissions both small and large. .
By the late 1630s Rembrandt had produced a few paintings and many etchings of landscapes. Often these landscapes highlighted natural drama, featuring uprooted trees and ominous skies . From 1640 his work became less exuberant and more sober in tone, possibly reflecting personal tragedy. Biblical scenes were now derived more often from the New Testament than the Old Testament, as had been the case before. In 1642 he painted The Night Watch, the most substantial of the important group portrait commissions which he received in this period, and through which he sought to find solutions to compositional and narrative problems that had been attempted in previous works. In the decade following the Night Watch, Rembrandt's paintings varied greatly in size, subject, and style. The previous tendency to create dramatic effects primarily by strong contrasts of light and shadow gave way to the use of frontal lighting and larger and more saturated areas of color. Simultaneously, figures came to
the more expressive use of brushwork as well, may indicate a familiarity with Venetian art (Susanna and the Elders, 1637–47). At the same time, there was a marked decrease in painted works in favor of etchings and drawings of landscapes. In these graphic works natural drama eventually made way for quiet Dutch rural scenes. In the 1650s, Rembrandt's style changed again. Colors became richer and brush strokes more pronounced. With these changes, Rembrandt distanced himself from earlier work and current fashion, which increasingly inclined toward fine, detailed works. His use of light becomes more jagged and harsh, and shine becomes almost nonexistent. His singular approach to paint application may have been suggested in part by familiarity with the work of Titian, and could be seen in the context of the then current discussion of 'finish' and surface quality of paintings. Contemporary accounts sometimes remark disapprovingly of the coarseness of Rembrandt's brushwork, and the artist himself was said to have dissuaded visitors from looking too closely at his
The tactile manipulation of paint may hearken to medieval procedures, when mimetic effects of rendering informed a painting's surface. The end result is a richly varied handling of paint, deeply layered and often apparently haphazard, which suggests form and space in both an illusory and highly individual manner. In later years biblical themes were still depicted often, but emphasis shifted from dramatic group scenes to intimate portrait-like figures (James the Apostle, 1661). In his last years, Rembrandt painted his most deeply reflective self-portraits (from 1652 to 1669 he painted fifteen), and several moving images of both men and women (The Jewish Bride, c. 1666)—in love, in life, and before God.
Nasrollah Kasraian
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Nasrollah Kasraian Biography A graduate in law from Tehran University, Nasrollah Kasraian has been engaged in photography since 1966. The Kasraian family is an influential Iranian family. Many of the family members are important artists in Iran and are also internationally known. Nasrollah Kasraian is married to Ziba Arshi, a sociologist who accompanies him on his expeditions and collaborates with him in the publication of his works. They have three daughters and live in Tehran. Photography career Kasraian travels around Iran taking pictures of all ethnic groups and publishes them in photobooks. The pictures are supplemented by detailed texts about the particular subject of each photobook. The text for the photbooks is often written by Kasraian's wife Ziba Arshi. Some of the photobooks are also made in collaboration with his brother Ghodratollah Kasraian.
Some important ethnological works are based on the work of Nasrollah Kasraian. One example is The nomadic people of Iran of Richard Tapper and Jon Thompson. The photo book Persepolis was made in collaboration with Mehrdad Bahar. Nasrollah Kasraian's work has appeared in GEO (German and French), Airone (Italian), Grand Reportages (French), Animan (Switzerland) and Altaiir (Spain). His published collected works in Iran include "Our Homeland, Iran", "Turkmans of Iran", "Kurds of Iran" , "Balouchestan" , "Qashqais" , "Deserts of Iran" , " Bazaars of Iran" , "Damavand", "Isfahan", "Persepolis" and ... ; Also "l'Iran Rural" , "Kurdistan" and "The nomadic peoples of Iran" published abroad .
Published photo books Damavand, 1992, ISBN 964-6194-70-2 Isfahan, 1999, ISBN 964-6728-08-1 Persepolis, 5.Auflage: 1998, ISBN 964-416-167-X Nomads of Iran, 2001, ISBN 964-416-184-X Our Homeland Iran, 2001, ISBN 964-416-170-X
.Aziz Anzabi's art (aziz-anzabi.com) describes a fantasy that shelters the Artist Dr. Aziz Anzabi ((@aziz_anzabi)) is originally from individual in order to lead him throughout life. With strong Iran currently based in London. surrealist influences, Anzabi creates . His practice is mainly focused on a universe that establishes a sense of harmony and balance. Anzabi's sculpture and painting. work is heavily influenced by Through his art, Anzabi explores the concept of myths and rituals Mahmoud Farschian, evidence of which can be seen in the lines and by examining their role and textures of his work - both painting significance to the human and sculpture. Anzabi's style and tradition. Anzabi's influences are diverse and whilst figurative and abstract creations some of his artwork is reminiscent form an unconscious emotional connection to a deeper yearning of Dali, other pieces have elements of cubism, realism, impressionism with the viewer. "My ultimate or more interestingly a goal is to have the viewer feeling a sense of familiarity with juxtaposition of more than one style therein inventing a whole new the style of his own. work, a sense of having experienced this before.� 16
Inspiringiranians
Anzabi's work has been displayed and collected around the world; from UK, USA, Spain, Italy and Dubai. In addition, his work has appeared on National Stamps and some of his works can be viewed at the Tehran Museum. Aziz Anzabi is also an academic, previously a professor at Tehran University, and has written and produced books on the subjects of art and mathematics. . Bio from : Art Represent dot com . . .#azizanzabi #iranianartist #modernart #inspiringmen #abstractart #tehranmuseum #dali #iranianpainter aziz_anzabiThank you so much for mentioning me. Best wishes for the new year arts_byartistsAziz Anzabi (like Dali)is one of the most active people I have seenđ&#x;‘?đ&#x;‘?đ&#x;‘?đ&#x;‘?đ&#x;‘? inspiringiranians@aziz_anzabi it is my honor. Wishing you a happy new year and continued success.
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Hayv Kahraman
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Hayv Kahraman She was born 1981 is an Iraqi artist. She primarily paints, but also sculpts and sketches. Her works reflect the controversial issues of gender, specifically concerning female identity in relation to her experiences as a refugee, and all issues that plague her home country of Iraq. Hayv currently lives and works in California, United States.
Life and career Born in Baghdad, Iraq in 1981. During the Iran War, Hayv spent a lot of her time in the basement of her uncle's house. Her relatives would all huddle around candles and play card games.While living in Iraq, she attended the Music and Ballet School in central Baghdad. One night, her family packed their car and hired a smuggler to take them where it was safe. They had reached the Stockholm Arlanda, the airport in Sweden, and this is when she became a refugee. She then moved to Sweden at the age of 11. She enrolled in music and ballet classes, but decided to
leave due to the teacher's racism. She began oil painting at the age of 12 and later had several successful exhibitions in Sweden.She studied at the Academy of Art and Design in Florence, Italy. This is where she met her husband, Anthony Velasquez. Kahraman's artwork depict the effects of war, and how they affect women. Her wide stylistic references range from Japanese and Arabic calligraphy art nouveau, Persian miniatura and Greek iconography.
Works War-aq, the Arabic word for playing cards, is a very personal group of her works. She combined the idea of a scattered deck of cards with the experiences of five million displaced Iraqis. Migrant 11 is a series of a contorted dancer that refers to the deformation of the self due to migration. This work relates to her personal experience of attending the music and ballet school in central Baghdad. Migrant 3 is a self portrait of herself cutting off her tongue to represent the loss of language and communication through her life experiences.
Solo and Group Exhibitions
2016 - Hayv Kahraman, Joslyn Art Museum, Omaha, Nebraska, October 8, 2016 – January 8, 2017 2016 - No Man’s Land: Women Artists from the Rubell Family Collection, Miami, Florida 2015 - June: A Painting Show, Sadie Coles HQ, London 2015 - UNREALISM: Presented by Larry Gagosian and Jeffrey Deitch. 2016 - Us Is Them, The Pizzuti Collection, Columbus, Ohio 2015 - How Iraqi Are You?, Jack Shainman Gallery, New York 2013 - Let the Guest be the Master, Jack Shainman Gallery, New York 2013 - Echoes: Islamic Art and Contemporary Artists, Curated by Kim Masteller, Nelson-Atkins Museum, Kansas, Aug 31st 2013 - March 30th 2014 2013 - The jameel, Art inspired by Islamic tradition, Curated by Salma Tuqan, San Antonio Museum of Art, San Antonio, May 24th 2013 2012 - Fertile Crescent, Rutgers Paul Robeson Gallery, Newark, Aug 13th, 2012 2012 - Newtopia: the State of Human Rights, Curated by Katerina Gregos, Kazerne Dossin Museum, Belgium, Dec 1st 2012 2009 - Marionettes, The Third Line, Doha - Life Drawing, The Third Line, Dubai - New Works, Thierry Goldberg Projects, New York, New York - Solo presentation by Thierry Goldberg Projects at Volta, New York - The 9th Sharjah Biennial, Sharjah, UAE - Unveiled: New Art from the Middle East, The Saatchi Gallery, London, UK 2008 - I-Ling Eleen Lin & Hayv Kahraman, Thierry Goldberg Projects, New York, NY - Local Produce, The Lisa Sette Gallery, Scottsdale, U.S.A
2007 - Life Drawing, The Third Line, Dubai, United Arab Emirate 2007 - International Women’s Day, Erbil, Iraq 2007 - Celebrating Women in the Arts, Diyarbakir, Turkey (solo) 2006 - Daemons, Phoenix Theatre, Phoenix, U.S.A 2005 - Accademia di Arte e Design, Florence, Italy 2003 - Thoughts on Canvas, Hudiksvall’s Museum, Hudiksvall, Sweden
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