Aziz art june2015

Aziz Art

G u Aziz Anzabi C st o a Forough Farrokhzad m v p K Jen Iran e li nif ti m er ti t M o orr Bahman Mohassess n iso n Stella Dunkley

M oh se n va zir i m og ha da m

Jun 2015

Contents: 1-Mohsen Vaziri-Moghaddam 7-Gustav Klimt 12-Competition 13-Stella Dunkley 15-Bahman Mohassess 17-Jennifer Morrison 18-Competition 19-Forough Farrokhzad 22-Aziz Anzabi

Oh sky, if I want one day to fly from this silent prison, what shall I say to the weeping child's eyes: forget about me, for I am captive bird?

I am that candle which illuminates a ruins with the burning of her heart.

If I want to choose silent darkness, I will bring a nest to ruin.

Director: Aziz Anzabi Editor and translator : Asra Yaghoubi Research: Zohreh Nazari

http://www.aziz-anzabi.com

movements”, Vaziri reaches the Mohsen Vaziri-Moghaddam conclusion that “painting is not a Education reconstruction of objective reality, In 1943, after obtaining his diploma but the artist has to create at the Agricultural Institute, he something that never existed applies to the Faculty of Fine Arts before”. in Tehran and attends for three years. During this period, as the artist himself will say later on, “I learned how to nurture my drawing skills from Heidarian [his painting teacher] and I did the rest myself; I painted portraits and landscapes that didn’t go beyond study patterns”. During his years at the Academy, he feels the influence of Impressionism and PostImpressionism, especially Van Gogh, in both subject matters and expressive forms.

In 1952, his first solo exhibition is held at the Iran-America Society in Teheran.

In 1955 Vaziri leaves for Rome where he studies at the Academy of Fine Arts until 1958. During these years, coinciding with the establishment of the European In formalism and the American action painting, after “studying and analysing new modern art

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Career keep trying his hand at them for In the April of 1956 Vaziri opens his the following 3 years, until 1963. first Italian exhibition, displaying his Different types of sand are applied figurative paintings at the to the canvas in their natural state, Portonovo Art Gallery in Rome. In or mixed with colour. This original the same year, he exhibits in concept grabs the attention of Düsseldorf and Munich, in some of the most prominent Italian Germany. art critics of the time, such as Giulio Carlo Argan and Palma Bucarelli.

In 1957, a landmark year and In 1964 Vaziri is at the peak of his turning point in his artistic career, artistic career that coincides with he attends Toti Scialoja’s classes at the purchase of one of his paintings the Academy for six months and he by the Modern Art Museum starts experimenting with abstract (MoMA) in New York. He is away art. Vaziri will later confess that this from Italy for a long time and is when he learned “how to returns to Iran where he will teach conceive abstract painting and how for several years (until 1975), at the to create visual spaces”. His first Faculty of Decorative Arts (the abstract works date back to 1958- current University of Art) and the 1959 and they fit in perfectly with Faculty of Fine Arts in Tehran. In the search for materials and those years, he starts writing some brushstrokes happening in art methodology textbooks and in contemporary movements.

1981, he publishes Drawing method and Painting guide.

Between 1959 and 1960 he develops a vision of abstract art His textbooks are still amongst the through experiments that are most studied by Iranian art highly focused on materials. This students today. His return to Iran will lead to the creation of some of and heavy teaching commitments his most powerful works: the sand keep Vaziri away from painting for paintings. These paintings were almost three years. conceived in a playful moment in 2 the spring of 1959 and Vaziri will

Between 1967 and 1968 he starts Menna, Pensabene) and working on a series of reliefs made recognition by the City of Rome of aluminium and iron sheets and is (1958) and from Prime Minister still anchored to a monoSegni (International Art dimensional approach. Shortly Competition, Ravenna 1959) and after, from 1969, the reliefs will the Senate Gold Medal lead him to the creation of tri(Sassoferrato 1962). dimensional works, i.e. wood sculptures. From 1970, the next step in the evolution of still works will be a series of articulated, mobile sculptures whose wood pieces are joined together by nuts and bolts “so that – in Vaziri’s own words – they would open and close just like human joints”.

During the 1970s, these sculptures will in turn inspire a series of His works have been shown in paintings that mark a return to the numerous solo exhibitions in Italy well-defined shapes (both pointed (Rome, Milan, Florence), Germany and rounded) of his tri-dimensional (Dusseldorf, Munich), and Iran, at works and develop them further. the Venice Biennial (1958, 1960, Alberto Moravia and Pierre 1962, 1964), at the Tehran Biennial Restany are amongst the eminent (1960, 1962 ), at the Rome figures that will write about his Quadriennale (1960), at the Sao work.

Paulo Biennial in Brazil (1962), at the Museum of Modern Art, New In his chosen field, whether York (1964) and at the Shiraz Art directed to painting or sculpture, a Festival, Iran (1969). constant and essential theme is that of space, which has brought him results much appreciated by 3 critics (Argan, Moravia, Bevilacqua,

In 1985 Vaziri moves to Italy permanently, with his wife and two children.

In May 2004, he exhibits at the Contemporary Art Museum in Tehran together with Gerhard In the 1990s the artist works on Richter and he is hailed as the best Persian calligraphy shapes, trying Iranian artist of the century. In 2013 to point out the minimalism of its one of his sculptures (Forms in lines. He also continues to test Movement) and the sand painting himself with abstract compositions that is part of the MoMA collection that are all different from each are exhibited at the Asia Society other and characterised by either Museum in New York at the “Iran highly defined shapes and intense Modern” exhibition. colours or vague silhouettes and soft pastel colours.

In the summer of 2014, the same sculpture is exhibited at the In 1999 his translation of The contemporary art exhibition Mind and Work of Paul Klee by “Artevida corpo” at the Fundação W. Hahtmann is published.

Casa França-Brasil, in Rio de Janeiro, Brazil.

In 2000 he resumes contact with Iranian universities and holds Vaziri is still creatively active today several lectures. and he continues his quest for shapes and colours.

In 2003 Vaziri is affected by an eye disease, that will considerably reduce his eyesight, but it doesn’t let this dampen his spirit. On the contrary, he invents a new way of expressing himself: this is how some new acrylic paintings are born in which large splashes of colour reflect his way of seeing 4 reality.

Iran Persepolis

Judith and the Head of Holofernes, 1901. Ă–sterreichi sche Galerie Belvedere, Vienna

Gustav Klimt manner. As he developed a more (July 14, 1862 – February 6, 1918) personal style, his work was the was an Austrian symbolist painter subject of controversy that and one of the most prominent culminated when the paintings he members of the Vienna Secession completed around 1900 for the movement. Klimt is noted for his ceiling of the Great Hall of the paintings, murals, sketches, and University of Vienna were criticized other objets d'art. Klimt's primary as pornographic. He subsequently subject was the female body, and accepted no more public his works are marked by a frank commissions, but achieved a new eroticism. In addition to his success with the paintings of his figurative works, which include "golden phase," many of which allegories and portraits, he painted include gold leaf. Klimt's work was landscapes. Among the artists of an important influence on his the Vienna Secession, Klimt was the younger contemporary Egon most influenced by Japanese art Schiele. and its methods.

Early in his artistic career, he was a successful painter of architectural decorations in a conventional

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Early life and education

their friend, Franz Matsch, began working together and by 1880 they Klimt in a light Blue Smock by Egon had received numerous Schiele, 1913 commissions as a team that they Gustav Klimt was born in called the "Company of Artists".

Baumgarten, near Vienna in They also helped their teacher in Austria-Hungary, the second of painting murals in the seven children—three boys and Kunsthistorisches Museum in four girls. His mother, Anna Klimt , Vienna. Klimt began his had an unrealized ambition to be a professional career painting interior musical performer. His father, murals and ceilings in large public Ernst Klimt the Elder, formerly buildings on the RingstraĂ&#x;e, from Bohemia, was a gold including a successful series of engraver. All three of their sons "Allegories and Emblems". displayed artistic talent early on.

Klimt's younger brothers were In 1888 Klimt received the Golden Ernst Klimt and Georg Klimt.

Order of Merit from Emperor Franz Josef I of Austria for his Klimt lived in poverty while contributions to murals painted in attending the Vienna School the Burgtheater in Vienna. He also of Arts and Crafts became an honorary member of (Kunstgewerbeschule), where he the University of Munich and the studied architectural painting until University of Vienna. In 1892 1883. He revered Vienna's Klimt's father and brother Ernst foremost history painter of the both died, and he had to assume time, Hans Makart. Klimt readily financial responsibility for his accepted the principles of a father's and brother's families. The conservative training; his early tragedies also affected his artistic work may be classified as vision and soon he would move academic. In 1877 his brother, towards a new personal style.

Ernst, who, like his father, would become an engraver, also enrolled 8 in the school. The two brothers and

Characteristic of his style at the end of the 19th century is the inclusion of Nuda Veritas (nude truth) as a symbolic figure in some of his works, including Ancient Greece and Egypt (1891), Pallas Athene (1898) and Nuda Veritas (1899). Historians believe that Klimt with the nuda veritas denounced both the policy of the Habsburgs and the Austrian society, which ignored all political and social problems of

that time. In the early 1890s Klimt met Emilie Louise FlÜge (a sibling of his sister-in-law) who, notwithstanding the artist's relationships with other women, was to be his companion until the end of his life. His painting, The Kiss (1907–08), is thought to be an image of them as lovers. He designed many costumes she created and modeled in his works.

During this period Klimt fathered at least fourteen children

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Golden phase and critical success Ludwig Wittgenstein's sister, on the Klimt's 'Golden Phase' was marked occasion of her marriage. Then, by positive critical reaction and between 1907 and 1909, Klimt financial success. Many of his painted five canvases of society paintings from this period include women wrapped in fur. His gold leaf. Klimt had previously used apparent love of costume is gold in his Pallas Athene (1898) and expressed in the many photographs Judith I (1901), although the works of FlÜge modeling clothing he had most popularly associated with this designed. period are the Portrait of Adele Bloch-Bauer I (1907) and The Kiss As he worked and relaxed in his (1907–08). home, Klimt normally wore sandals and a long robe with no Klimt travelled little, but trips to undergarments. His simple life was Venice and Ravenna, both famous somewhat cloistered, devoted to for their beautiful mosaics, most his art, family, and little else except likely inspired his gold technique the Secessionist Movement. He and his Byzantine imagery. In 1904, avoided cafÊ society and seldom he collaborated with other artists socialized with other artists. Klimt's on the lavish Palais Stoclet, the fame usually brought patrons to his home of a wealthy Belgian door and he could afford to be industrialist that was one of the highly selective. His painting grandest monuments of the Art method was very deliberate and Nouveau age. Klimt's contributions painstaking at times and he to the dining room, including both required lengthy sittings by his Fulfillment and Expectation, were subjects. Although very active some of his finest decorative sexually, he kept his affairs discreet works, and as he publicly stated, and he avoided personal scandal. "probably the ultimate stage of my development of ornament."

In 1905, Klimt created a painted portrait of Margarete Wittgenstein,

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Klimt wrote little about his vision or day from morning to night... Who his methods. He wrote mostly ever wants to know something postcards to Flรถge and kept no about me... ought to look carefully diary. In a rare writing called at my pictures."

"Commentary on a non-existent self-portrait", he states "I have In 1901 Herman Bahr wrote, in his never painted a self-portrait. I am Speech on Klimt: "Just as only a less interested in myself as a lover can reveal to a man what life subject for a painting than I am in means to him and develop its other people, above all women... innermost significance, I feel the There is nothing special about me. I same about these paintings." am a painter who paints day after

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"Landscapes" Art Call Art Call "Landscapes" - $7,600 in cash & prizes "Landscapes" Deadline: Monday, June 15, 2015 (Midnight EST) Details Open for Submissions, $7,600 in Cash & Prizes Art-Competition.net: Announces a call to artists/photographers for an online-juried international competition, May 1, 2015 - June 15, 2015 (Midnight EST) $7,600 in Cash and Prizes. (Winners will also receive extensive marketing of their work.)

The competition is open to all artists 18 years of age or older expressing themselves with any two-dimensional still medium. e.g., Painting, Drawing, Photography, Digital Art, Collage, Flat Fiber Art, etc . The work can express any aspect from representational to non-representational.

Theme: "Landscapes" - The artists present their vision of the landscape in so many unique ways. We see the landscape from each of their unique emotional interpretations. Perhaps the landscape itself is not as important as the many interpretations we are presented with by the fertile minds of artists. The challenge for the viewer is to find insight into the artists and how they are experiencing the landscape.

Schedule: Submission Deadline: 06/15/2015 (Midnight EST) Jury Selection: 06/18/15 Notification: 06/23/15 Submission Fees: Entry Fee: 1 image $20, 3 images $35, 7 images $60 Payments: All credit and debit cards are accepted through PayPal.

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Stella Dunkley I use oils, acrylics & mixed media & Living near the south of England's coastline and close to the river Stour in Dorset has given me the opportunity to gain a deeper understanding of the land and sea of this area, many of my paintings are directly inspired by these views, concentrating on the colour, light and atmosphere, especially observing the intense colours at sunrise and sunset, translating my emotional response onto paint full time from my studio in canvas, giving the viewer an Dorset, with the sea, river & New insight into my unique Forest nearby, which is constantly interpretation inspiring, I enjoy the challenge of of the landscape, and a sense of capturing light & atmosphere in my my own personal connection work. I take photos of local scenes with the subject. & also work from sketches.

The subjects I find inspirational are +My paintings are in private the sea and the natural world, collections & businesses I enjoy experimenting with mixed worldwide, I have completed media, incorporating natural commissions for collectors in the substances into the work, the UK & Abroad. colours, textures, and patterns of nature are evident in my paintings, the ideas for my abstract works are inspired by visualizing and creating colour and shape from thought and emotion, the defined lines of modern architecture, the diversity of different cultures 13 seen on travels.

Bahman Mohassess

Bahman Mohassess March 1931 Rasht, Iran-28 July 2010 Rome, Italy, dubbed by some as the "Persian Picasso", was an Iranian painter, sculptor, translator, and theatre director. His oeuvre comprises paintings, sculptures and collages.

He was also a celebrated translator of literary works.

their time. In 1954 he moved to Italy to study in the Fine Art Academy of Rome.

Activities He returned to Iran in 1964 and participated in Venice, Sao Paolo and Tehran Biennales. Mohasses directed plays, including Pirandello's Henry IV at Goethe Early life Institute and Ghandriz Hall in In his youth he learned painting Tehran. He also translated books of from Habib Mohammadi a number of authors, including (who had studied in Moscow Eugène Ionesco, Malaparte and Academy of Arts) and moved with Pirandello. his family from Rasht to Tehran, where he attended Tehran's He stayed in Iran until 1968, before Faculty of Fine Arts. During the returning to Rome, where he same period he joined the received commissions for statutes "Cockfight" art and culture society to be placed in Tehran. Some of his (Anjoman-e Khoros Jangi), public works in Iran were destroyed established by Jalil Ziapour, and or damaged after the Islamic was, for some time, the editor of Revolution, with the artist the literary and art weekly "Panjeh subsequently destroying all his Khoros" (Rooster Foot). Through remaining works in Iran. He this society he was part of an occasionally travelled to Iran and avant-garde artistic movement, died in self-imposed seclusion in which included his good friend Rome in 2010.

Nima Yooshij, the father of modern Persian poetry and Sohrab Sepehri, Houshang Irani and Gholamhossein 15 Gharib, all progressive artists of

Artistic legacy "Irreverent and uncompromising, a gay man in a hostile world, Mohassess had a conflicted relationship with his homeland— revered by elites in the art scene and praised as a national icon, only to be censored later by an oppressive regime. Known for his iconoclastic art as well as his scathing declarations, Mohasses abandoned the country over 30 years ago for a simple, secluded life in Italy." Mohasses, unlike many of his contemporaries, did not make references to Persian artistic traditions and had a modern outlook. His paintings and sculptures depicted mythical Minotaurs and creatures out of nightmares in vast deserts of hopelessness.

A 2012 documentary, "Fifi Howls from Happiness" by Mitra Farahani, shot shortly before the artist's death and finished after it, explored the enigma of this provocative artist. The film presents a "final biography, in his own words and on his terms.

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Jennifer Morrison Morrison’s work deals predominantly with colour and shape. She uses these elements to explore juxtaposition, repetition, movement and rhythm.

and remain a central influence in her work.

Jennifer graduated from Central Saint Martin’s in 1999. She has been exhibited as a solo artist at the Arndean Gallery and the Coningsby Gallery in London, and her work forms part of a network of collections in London, Singapore and South Africa. She also has a number of charity auctions and group exhibitions to her name.

Whether it is a plant or clouds or smudges on a wall, these can all serve as inspiration for her and act as a starting point for a painting.

Morrison is interested in weighing accident against deliberation, precision and control against playfulness and abandon.

This intersection of order and chaos endlessly fascinates her. She has always loved the stuff of paint, whether it be oils, watercolours or enamels, and she loves working with their different qualities.

Although she has lived in London for two decades, the colours of South Africa have never left her

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Contemporary Art Gallery Online (CAGO) presents:

June Art Competition and Exhibition: Water / Seascapes Call for Artists - Deadline: June 30, 2015 “Water does not resist. Water flows. When you plunge your hand into it, all you feel is a caress. Water is not a solid wall, it will not stop you.

But water always goes where it wants to go, and nothing in the end can stand against it. Water is patient. Dripping water wears away a stone.

Remember that, my child. Remember you are half water. If you can't go through an obstacle, go around it. Water does.” ― Margaret Atwood, The Penelopiad Contemporary Art Gallery Online announces their 3rd Annual “Water / Seascapes" Online Art Competition for the month of June 2015.

The gallery announces an international and national call for entries from artists regardless of where they reside to apply to this competition by submitting their best representational and non-representational art.

Contemporary Art Gallery Online encourages entries from all 2D and 3D artists regardless of their experience or education in the art field. A group exhibition of all entrants will be held online at the Contemporary Art Gallery Online during the month of July 2015. Awards will be for top 5 places. In addition to the winning images, depending on the amount and the quality of the entries received, Honourable Recognition awards will also be presented.

Prizes: Prizes include Lifetime Memberships to Contemporary Art Gallery Online, Radio Interviews, Inclusion in the Year End Anthology Publication, Extensive Marketing and much more. Our Radio Shows have had more than 100,000 listens and the Gallery receives over 125,000 unique visitors a year with over 1.86 Million hits in a year. This is exposure you cannot garner on your own! And finally your entry 18 remains on the Gallery forever.

Forough Farrokhzad January 5, 1935 — February 13, 1967 was an Iranian poet and film director.

Forough Farrokhzad is arguably one of Iran's most influential female poets of the twentieth century. She was a controversial modernist poet and an iconoclast.

Biography Forugh (also spelled Forough) was born in Tehran to career military officer Colonel Mohammad Bagher Farrokhzad (originally from Tafresh city) and his wife Touran Vaziri-Tabar in 1935. The third of seven children (Amir, Massoud, Mehrdad, Fereydoun Farrokhzad, Pooran Farrokhzad, Gloria), she attended school until the ninth grade, then was taught painting and sewing at a girl's school for the manual arts. At age sixteen she was married to Parviz Shapour, an acclaimed satirist.

Farrokhzad continued her education with classes in painting and sewing and moved with her husband to Ahvaz. A year later, she bore her only child, a son named Kāmyār (subject of A Poem for You).

Within two years, in 1954, Farrokhzad and her husband divorced; Parviz won custody of the child. She moved back to Tehran to write poetry and published her first volume, entitled The Captive, in 1955.

Farrokhzad, a female divorcée writing controversial poetry with a strong feminine voice, became the focus of much negative attention and open disapproval. In 1958 she spent nine months in Europe. After returning to Iran, in search of a job she met film-maker and writer Ebrahim Golestan, who reinforced her own inclinations to express herself and live independently. She published two more volumes, The Wall and The Rebellion before traveling to Tabriz to make a film about Iranians affected by leprosy.

This 1962 documentary film titled The House is Black won several international awards. During the twelve days of shooting, she became attached to Hossein Mansouri, the child of two lepers.

She adopted the boy and brought him to live at her mother's house.

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In 1964 she published Another Birth. Her poetry was now mature and sophisticated, and a profound change from previous modern Iranian poetic conventions.

biography of Forough, Michael Hillmann's A lonely woman: Forough Farrokhzad and her poetry, was published in 1987. Also about her is a chapter in Farzaneh Milani's work Veils and words: the emerging At 4:30PM on February 13, 1967, voices of Iranian women writers Farrokhzad died in a car accident at (1992). Nasser Saffarian has age thirty-two. In order to avoid directed three documentaries on hitting a school bus, she swerved her: The Mirror of the Soul (2000), her Jeep, which hit a stone wall; The Green Cold (2003), and Summit she died before reaching the of the Wave (2004). hospital.Her poem Let us believe in the beginning of the cold season She is the sister of the singer, poet was published posthumously, and is and political activist Fereydoon considered by some to be one of Farrokhzad. the best-structured modern poems in Persian.

Farrokhzad's poetry was banned for more than a decade after the Islamic Revolution. A brief literary My lot is this My lot is this This sky abducted from my sight by a hung curtain, This passage down a deserted stairway To retrieve something from amid the rot and banished thoughts.

My lot is a sad promenade in nostalgia's garden, My lot is to catch my death in the despair of the voice that says to me 'I love 20 Your hands.'

Don't judge her by her cover

By Aziz Anzabi

This painting is miraculously alluring to the eyes. Created in 2015 by Aziz Anzabi yet one of his bests. Aziz has painted his sketch on a 102cmx66cmx4cm canvas with the technique of oil on canvas to create this imaginative work.

The featureless lady in the middle is eccentric and haunts your eyes every time you stare at it. It is obvious that Aziz has tried to indicate/ open up a passage to the thoughts of the audience through his engraved symbol: below the women's chest. Aziz has passed down Persian symbols for a long time on his obscuring ,detailed paintings, which to me now thinking about it feels like he is not just trying to create a new style of his own but again trying to open the eye's of the audience to the art world with his paintings full of clandestine tales. However what really interests me is that the

woman's face is simply not bland but filled with many little veins to create a marble effect. On the left side of her face there is a colossal peel, almost like paper etched on the lavish marble, akin like a scar .

The diamond shaped emerald shapes fading back in the background look like scant dancing trees moving with the emollient tune of the wind. The woman/girl is fascinating through her abnormal body shape and yet awful and ghoulish every time you glare at it.

The painting absorbs you whole with great force whenever you beam at it. Overall I think that this work is very bewitching and pleasant every now and again to see, sometimes even assuring. I'm grateful for Aziz to have created such a unique work.

Review by: Asra Y

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Every time

Every where

Iran Persepolis

http://www.aziz-anzabi.com