Aziz art june 2017

Page 1

Khaled Akil

AZIZ ART June 2017

Sohrab Sepehri

Turner

koorosh shishegaran


1-Sohrab Sepehri 5-Turner 15-Khaled Akil 18-koorosh shishegaran

Director: Aziz Anzabi Editor : Nafiseh Yaghoubi Translator : Asra Yaghoubi Research: Zohreh Nazari

http://www.aziz-anzabi.com


Sohrab Sepehri

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Sohrab Sepehri October 7, 1928 – April 21, 1980 was a notable Iranian poet and a painter. He was born in Kashan, Iran. He is considered to be one of the five most famous Iranian poets who have practiced modern poetry. Other practitioners of this form were Nima Youshij, Ahmad Shamlou, Mehdi Akhavan-Sales, and Forough Farrokhzad. Sepehri was also one of Iran's foremost modernist painters.

Sepehri died in Pars hospital in Tehran of leukemia. His poetry is full of humanity and concern for human values. He loved nature and refers to it frequently. Works Hasht Ketab (Eight Books) 1976 The Death of Color 1951 The Life of Dreams 1953 Us nil, us a look Was not published until 1977 Downpour of Sunshine 1958 East of Sorrow 1961 The Oasis of Now (1965) translated by Kazim Ali with Mohammad Jafar Well-versed in Buddhism, Mahallati, BOA Editions, 2013. mysticism and Western traditions, The Wayfarer 1966 he mingled the Western concepts The Green Space 1967 with Eastern ones, thereby creating a kind of poetry unsurpassed in the history of Persian literature. To him, new forms were new means to express his thoughts and feelings. His poetry has been translated into many languages including English, French, Spanish, German, Italian, Swedish, Arabic, Turkish and Russian. An English translation of his selected poems by Ali Salami appeared in 2003.


Bibliography The Lover Is Always Alone. Trans. Karim Emami. Tehran: Sokhan, Sepehri, Sohrab, and Riccardo Zipoli. While poppies bloom: Poems and Panoramas. Trans. Karim Emami. Tehran: Zarrin-oSimin Books, 2005. Bidi, Hamed. "Where Are My Shoes?" While Poppies Bloom. 12 Oct 2006. 24 Oct 2000 Valiabdi, Mostafa. Hichestan.Tehran: Tiam, 2005. Karimi-Hakkak, Ahmad. Hasht Ketab: Professor Hakkak's view on the Sepehri's esthetic vision and significance.United States: Ketabe Gooya, 2005. Sepehri, Parvaneh. The Blue Room. Tehran: Gooya, 2003. Sepehri, Paridokht. Wherever I am, let me be! Tehran: Peykan, 2005. Sayar, Pirouz. Paintings and Drawings Of Sohrab Sepehri. Tehran: Soroush Press, 2002. Sepehri, Paridokht. Sohrab, the Migratory Bird. Tehran: Tahouri, 1996. Hamid Siahpoush. The Lonely Garden: Sohrab Sepehri's

Remembrance. Tehran: Negah, 2003. Sohrab Sepehri's life timeline Born in 1928 – Kashan – Iran He hosted a painting exhibition Tehran 1944 He published his first poetry book that followed by a few other books in the same year - 1951

He graduated from the fine arts university with B.A. degree in painting - Tehran – 1953 He translated some Japanese poetry into Persian and published them in a literary magazine called Sokhan – 1955 He traveled to Paris and attended the Paris Fine Arts School in lithography – 1957 He traveled to Tokyo to further his studies in lithography and wood carving – 1960 On the way back to Iran from Japan, he visited India and became familiar with the ideology of Buddhism – 1961


He published three books in poetry – 1960 He traveled to India again and visited several cities and provinces – 1964 He traveled to Pakistan and Afghanistan 1964 He traveled to Europe and visited several countries such as Germany,England,France,Spain,the Netherlands,Italy and Austria – 1966 He published some long poems after he returned to Iran – 1966 He hosted a painting exhibition in Tehran 1967 He published another book in poetry 1967 He traveled to Greece and Egypt – 1974 He published his final book called ‘Hasht Ketab' (Eight Books), which was the collection of almost all of his published poems in one volume – 1976 He got Leukemia and traveled to England for treatment – 1978 Unfortunately, his attempt to defeat cancer brought him no result. He returned to Iran and died in Pars Hospital in Tehran on Monday April 21, 1980.


TURNER

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Joseph Mallord William Turner Baptised 14 May 1775 – 19 December 1851 was an English Romanticist landscape painter. Turner was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting. He is commonly known as "the painter of light" Biography

of butchers.A younger sister, Mary Ann, was born in September 1778 but died in August 1783. In 1785, due to his mother showing signs of the mental disturbance for which she was admitted first to St Luke's Hospital for Lunatics in Old Street in 1799 and then Bethlem Hospital in 1800,where she died in 1804, the young Turner was sent to stay with his maternal uncle, Joseph Mallord William Marshall, in Brentford, then a small town on the banks of the River Thames west of London. The earliest known artistic exercise by Turner is from this period—a series of simple colourings of engraved plates from Early life Henry Boswell's Picturesque View of the Antiquities of England and Joseph Mallord William Turner Wales Around 1786, Turner was was baptised on 14 May 1775, sent to Margate on the north-east but his date of birth is unknown. Kent coast. Here he produced a It is generally believed he was series of drawings of the town and born between late April and early surrounding area foreshadowing his May. Turner himself claimed he later work. Turner returned to was born on 23 April, but there is Margate many times in later life.By no proof. He was born in Maiden this time, Turner's drawings were Lane, Covent Garden, in London, being exhibited in his father's shop England. His father, William Turner window and sold for a few shillings. (1745–21 September 1829), was a barber and wig maker. His mother, Mary Marshall, came from a family


His father boasted to the artist Thomas Stothard that: "My son, sir, is going to be a painter." In 1789, Turner again stayed with his uncle who had retired to Sunningwell in Berkshire (now part of Oxfordshire). A whole sketchbook of work from this time in Berkshire survives as well as a watercolour of Oxford. The use of pencil sketches on location, as the foundation for later finished paintings, formed the basis of Turner's essential working style for his whole career. Many early sketches by Turner were architectural studies or exercises in perspective, and it is known that, as a young man, he worked for several architects including Thomas Hardwick, James Wyatt and Joseph Bonomi the Elder. By the end of 1789, he had also begun to study under the topographical draughtsman Thomas Malton, specialised in London views. Turner learned from him the basic tricks of the

trade, copying and colouring outline prints of British castles and abbeys. He would later call Malton "My real master".Topography was a thriving industry by which a young artist could pay for his studies. In the same year of 1789 he entered the Royal Academy of Art schools, when he was 14 years old,and was accepted into the academy a year later. Sir Joshua Reynolds, president of the Royal Academy, chaired the panel that admitted him. At first Turner showed a keen interest in architecture, but was advised by the architect Thomas Hardwick to continue painting. His first watercolour painting A View of the Archbishop's Palace, Lambeth was accepted for the Royal Academy summer exhibition of 1790 when Turner was 15. As a probationer in the academy, he was taught drawing from plaster casts of antique sculptures. From July 1790 to October 1793, his name appears in the registry of the academy over a hundred times.In June 1792, he was admitted to the life class to learn to draw the human body from nude models.


Turner exhibited watercolours "Is a summary of all that had been each year at the academy while said about the sea by the artists of painting in the winter and the 18th century."and shows strong travelling in the summer widely influence by artists such as Claude throughout Britain, particularly to Joseph Vernet, Philip James de Wales, where he produced a wide Loutherbourg, Peter Monamy and range of sketches for working up Francis Swaine, who was admired into studies and watercolours. for his moonlight marine paintings. These particularly focused on This particular painting cannot be architectural work, which utilised said to show any influence of his skills as a draughtsman. Willem van de Velde the Younger, In 1793, he showed the as not a single nocturnal scene is watercolour titled The Rising known by that painter. Some later Squall – Hot Wells from work, however, was created to rival St Vincent's Rock Bristol, which or complement the manner of the foreshadowed his later climatic Dutch artist. The image was praised effects.Cunningham in his obituary by contemporary critics and of Turner wrote that it was: founded Turner's reputation, as "recognised by the wiser few as a both an oil painter and a painter of noble attempt at lifting landscape maritime scenes. art out of the tame Personal life insipidities.evinced for the first As Turner grew older, he became time that mastery of effect for more eccentric. He had few close which he is now justly celebrated." friends except for his father, who In 1796, Turner exhibited lived with him for 30 years and Fishermen at Sea, his first oil worked as his studio assistant. His painting at the academy, of a father's death in 1829 had a nocturnal moonlit scene of the profound effect on him, and Needles off the Isle of Wight. The thereafter he was subject to bouts image of boats in peril contrasts of depression. He never married the cold light of the moon with the but had a relationship with an older firelight glow of the fishermen's widow, Sarah Danby.. lantern. Wilton said that the image:



He is believed to have been the father of her two daughters born in 1801 and 1811 Later, he had a relationship with Sophia Caroline Booth after her second husband died, living for about 18 years as 'Mr Booth' in her house in Chelsea. Like many of the day, Turner was a habitual user of snuff; in 1838 the King of France, Louis-Philippe, presented a gold snuff box to him. Of two other snuffboxes, an agate and silver example bears Turner's name, and another, made of wood, was collected along with his spectacles, magnifying glass and card case by an associate housekeeper. Style Turner's talent was recognised early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterised by a chromatic palette and broadly applied atmospheric washes of paint. According to David Piper's The Illustrated History of Art, his later pictures were called "fantastic puzzles." Turner was recognised as an artistic genius: influential English art critic John Ruskin

described him as the artist who could most "stirringly and truthfully measure the moods of Nature." Suitable vehicles for Turner's imagination were found in shipwrecks, fires (such as the burning of Parliament in 1834, an event which Turner rushed to witness first-hand, and which he transcribed in a series of watercolour sketches), natural catastrophes, and natural phenomena such as sunlight, storm, rain, and fog. He was fascinated by the violent power of the sea, as seen in Dawn after the Wreck (1840) and The Slave Ship (1840). Turner's major venture into printmaking was the Liber Studiorum (Book of Studies), seventy prints that he worked on from 1806 to 1819. The Liber Studiorum was an expression of his intentions for landscape art. The idea was loosely based on Claude Lorrain's Liber Veritatis (Book of Truth), where Claude had recorded his completed paintings; a series of print copies of these drawings, by then at Devonshire House, had been a huge publishing success.


Turner's plates were meant to be of skies and widely disseminated, and fires. Although these late paintings categorised the genre into six appear to be 'impressionistic' and types: Marine, Mountainous, therefore a forerunner of the Pastoral, Historical, Architectural, French school, Turner was striving and Elevated or Epic Pastoral. His for expression of spirituality in the printmaking was a major part of world, rather than responding his output, and a museum is primarily to optical phenomena. devoted to it, the Turner Museum His early works, such as Tintern in Sarasota, Florida, founded in Abbey (1795), stayed true to the 1974 by traditions of English landscape. Douglass Montrose-Graem to However, in Hannibal Crossing the house his collection of Turner Alps (1812), an emphasis on the prints. destructive power of nature had Turner placed human beings in already come into play. His many of his paintings to indicate distinctive style of painting, in his affection for humanity on the which he used watercolour one hand, but its vulnerability and technique with oil paints, created vulgarity amid the 'sublime' nature lightness, fluency, and ephemeral of the world on the other. 'Sublime' atmospheric effects. here means awe-inspiring, savage High levels of volcanic ash (from grandeur, a natural world the eruption of Mt. Tambora) in the unmastered by man, evidence of atmosphere during 1816, the "Year the power of God – a theme that Without a Summer", led to romanticist artists and poets were unusually spectacular sunsets exploring in this period. To Turner, during this period, and were an light was the emanation of God's inspiration for some of Turner's spirit and this was why he focused work. the subject matter of his later John Ruskin says in his "Notes" on paintings by leaving out Turner in March 1878, that an early distractions such as solid objects patron, Dr Thomas Monro, the and detail, concentrating on the Principal Physician of Bedlam, and play of light on water, the radiance also a collector and amateur artist,


was a significant influence on Turner's style His true master was Dr Monro; to the practical teaching of that first patron and the wise simplicity of method of watercolour study, in which he was disciplined by him and companioned by his friend Girtin, the healthy and constant development of the greater power is primarily to be attributed; the greatness of the power itself, it is impossible to over-estimate In his later years he used oils ever more transparently, and turned to an evocation of almost pure light by use of shimmering colour. A prime example of his mature style can be seen in Rain, Steam and Speed – The Great Western Railway, where the objects are barely recognisable. The intensity of hue and interest in evanescent light not only placed Turner's work in the vanguard of English painting, but exerted an influence on art in France; the Impressionists, particularly Claude Monet, carefully studied his techniques. Turner used pigments like carmine in his paintings, knowing that they

were not long-lasting, despite the advice of contemporary experts to use more durable pigments. As a result, many of his colours have now faded greatly. John Ruskin complained at how quickly Turner's work decayed; Turner was indifferent to posterity and chose materials that looked good when freshly applied.By 1930 there was concern that both his oils and his watercolours were fading. Together with a number of young artists Turner was able, in the London house of Dr. Monro, to copy works of the major topographical draughtsmen of his time and perfect his skills in drawing. But the curious atmospherical effects and illusions of the watercolours of John Robert Cozens, some of which were present in Monro's house, went far further than the neat renderings of topography. The solemn grandeur of his Alpine views were an early revelation to the young artist and showed him the true potential of the watercolour medium, conveying mood instead of information.


On a trip to Europe, circa 1820, he met the Irish physician Robert James Graves. Graves was travelling in a diligence in the Alps when a man who looked like the mate of a ship got in, sat beside him, and soon took from his pocket a note-book across which his hand from time to time passed with the rapidity of lightning. Graves wondered if the man was insane, he looked, saw that the stranger had been noting the forms of clouds as they passed and that he was no common artist. The two travelled and sketched together for months. Graves tells that Turner would outline a scene, sit doing nothing for two or three days, then suddenly, "perhaps on the third day, he would exclaim 'there it is', and seizing his colours work rapidly till he had noted down the peculiar effect he wished to fix in his memory."

The first American to buy a Turner painting was James Lenox of New York City, a private collector. Lenox wished to own a Turner and in 1845 bought one unseen through an intermediary, his friend C. R. Leslie.

shipped the 1832 atmospheric seascape Staffa, Fingal's Cave.Worried about the painting's reception by Lenox, who knew Turner's work only through etchings, Leslie wrote to Lenox that the quality of Staffa, "a most poetic picture of a steam boat" would become apparent in time. On receiving the painting Lenox was baffled, and "greatly disappointed" by what he called the painting's "indistinctness". When Leslie was forced to relay this opinion to Turner, Turner said "You should tell Mr Lenox that indistinctness is my forte." Staffa, Fingal's Cave is now owned by the Yale Center for British Art.



KHALED AKIL

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Khaled Akil is a Syrian Fine-art photographer and mixed media artist, born in Aleppo city, his work focuses primarily on critiquing war, religion and social turmoil in the Middle East.He is best known for his controversial topics pointing out taboos in Islamic and Middle Eastern societies.

Biography Khaled Akil was born in Aleppo, Syria, to a family with a long history of artistic and political influence. His father is the renowned painter Youssef Akil.His great maternal grandfather is the Syrian author and historical figure Abd al-Rahman al-Kawakibi.

In 2012, he held a solo exhibition “The Legend of Death” in Istanbul, where he resides today due to the escalation of the war in Syria. Technic His work is a hybrid of photography and painting, with a digital final product. various layers, created in direct relation with the photographic work and the issue presented. What one sees when looking into Akil's images is a dual universe wherein creatures and symbols merge with the visual fragments of war and abandonment.

Khaled Akil subjects his original photographs to countless layers of manual intervention that ultimately Khaled’s first exhibition was held result in digital prints. With their in 2009, when at the time he was mixture of photography, painting, completing his bachelor's and sometimes Arabic calligraphy, degree in Law.His experience the dense surfaces of the works in law, politics and human rights make them expressive and strongly played a major role in his artistic palpable. development and projections. Most of his works deal with topics related to the social, political, and religious discrepancies he witnessed around the region.


Solo Exhibitions 2017 Stanford University, California U.S 2013 Chalabi Art Gallery, Istanbul, Turkey 2012 Lahd Gallery, London, UK 2011 Karma Art Gallery, Aleppo, Syria 2010 Mustafa Ali Art Foundation. Damascus, Syria 2009 Sarmad Art Gallery, Aleppo, Syria Group Exhibitions 2016 Exhibited in Flight, West Branch Gallery, Stowe, Vermont, U.S. Exhibited in Anna&Mark art fair San Jose, California. Exhibited in Catharsis , Gaya Art Gallery, Sidi Bou Said. 2015 Exhibited in International Discoveries V, FotoFest, Houston, Texas, United States.Exhibited in Woman Through The Eyes- Tajallyat Art Gallery, Beirut. Exhibited in In-Quest, Gaya Art Gallery, Sidi Bou Said. Exhibited in Voices from the Middle East, Art in Exile Festival, Washington, D.C. 2009 Exhibited in From Aleppo with Love, Le Pont Gallery, Aleppo, Syria


koorosh shishegaran 18


Koorosh Shishegaran was born in Qazvin in 1944, but then moved to Tehran with his family. He finished elementary school in Tehran and then admitted to the School of Fine Arts and continued his academic studies at the Faculty of Decorative Arts – Art University – receiving a BFA in Interior Design. His experiment in art is not confined to the style he uses in creating paintings today. What follows is a cursory look at Koorosh Shishegaran’s artistic career. Koorosh Shishegaran has participated in numerous group

exhibitions and biennials in Iran and abroad. His last solo exhibition was in Opera Gallery, London (2012). International group exhibitions that stand out include Wash Art in Washington (1977), Basel, Switzerland (1978), Millennium Painting Exhibition in London (1999), Exhibition of Iranian Art in Rome (2000), Meridian International Center, USA (20012003), Barbican Art Center, London (2001), Beijing International Biennial (2003), Opera Gallery, London (2013). With the opening up of international auction houses to Iranian art in recent years, numerous works of the artist have been sold in these auctions.


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