Aziz art october 2016

H a y d a r H a t e m i William Bouguereau

C o m p e t i t i o n

October 2016

Ex hi bi ti o n

Iran Arg-e Bam

A Z I Z A R T

1-William Bouguereau 9-Exhibition 10-Haydar Hatemi 14-Competition 15-Arg-e Bam 18-Competition

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

http://www.aziz_anzabi.com

William-Adolphe Bouguereau

Life and career

November 30, 1825 – August 19, 1905 was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body.During his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work.

As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde.By the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau and his work.

Throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown.

William-Adolphe Bouguereau was born in La Rochelle, France, on November 30, 1825, into a family of wine and olive oil merchants. He seemed destined to join the family business but for the intervention of his uncle Eugène, a Roman Catholic priest, who taught him classical and Biblical subjects, and arranged for Bouguereau to go to high school.

He showed artistic talent early on.

His father was convinced by a client to send him to the École des BeauxArts in Bordeaux, where he won first prize in figure painting for a depiction of Saint Roch. To earn extra money, he designed labels for jams and preserves.

Through his uncle, Bouguereau was given a commission to paint portraits of parishioners, and when his aunt matched the sum he earned, Bouguereau went to Paris and became a student at the École des Beaux-Arts.To supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology.

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He was admitted to the studio of century arrived at, one can only François-Édouard Picot, where he congratulate M. Bouguereau in studied painting in the academic attempting to follow in their style. Academic painting placed the footsteps ... Raphael was inspired highest status on historical and by the ancients ... and no one mythological subjects and accused him of not being original."

Bouguereau won the coveted Prix de Rome at age 26 in 1850,with Raphael was a favorite of his Zenobia Found by Shepherds Bouguereau and he took this on the Banks of the Araxes.His review as a high compliment. He reward was a year at the Villa had fulfilled one of the Medici in Rome, Italy, where in requirements of the Prix de Rome addition to formal lessons he was by completing an old-master copy able to study first-hand the of Raphael’s The Triumph of Renaissance artists and their Galatea. In many of his works, he masterpieces, as well as Greek, followed the same classical Etruscan, and Roman antiquities. approach to composition, form, He also studied classical literature, and subject matter.Bouguereau's which influenced his subject choice graceful portraits of women were for the rest of his career. considered very charming, partly The Wave (1896) because he could beautify a sitter Bouguereau, painting within the while also retaining her likeness. traditional academic style, In 1856, he married Marie-Nelly exhibited at the annual exhibitions Monchablon and subsequently had of the Paris Salon for his entire five children. By the late 1850s, he working life. An early reviewer had made strong connections with stated, "M. Bouguereau has a art dealers, particularly Paul natural instinct and knowledge of Durand-Ruel (later the champion of contour. The eurythmie of the the Impressionists), who helped human body preoccupies him, clients buy paintings from artists and in recalling the happy results who exhibited at the Salons. which, in this genre, the ancients and the artists of the sixteenth

Thanks to Paul Durand-Ruel, Bouguereau met Hugues Merle, who later often was compared to Bouguereau. The Salons annually drew over 300,000 people, providing valuable exposure to exhibited artists. Bouguereau’s fame extended to England by the 1860s, and he bought a large house and studio in Montparnasse with his growing income.

The Birth of Venus (1879) Bouguereau was a staunch traditionalist whose genre paintings and mythological themes were modern interpretations of Classical subjects, both pagan and Christian, with a concentration on the naked female human body.

The idealized world of his paintings brought to life goddesses, nymphs, bathers, shepherdesses, and madonnas in a way that appealed to wealthy art patrons of the era.

Bouguereau employed traditional methods of working up a painting, including detailed pencil studies and oil sketches, and his careful method resulted in a pleasing and

accurate rendering of the human form. His painting of skin, hands, and feet was particularly admired.

He also used some of the religious and erotic symbolism of the Old Masters, such as the "broken pitcher" which connoted lost innocence.

Bouguereau received many commissions to decorate private houses, public buildings, and churches. As was typical of such commissions, Bouguereau would sometimes paint in his own style, and at other times conform to an existing group style. Early on, Bouguereau was commissioned in all three venues, which added enormously to his prestige and fame. He also made reductions of his public paintings for sale to patrons, of which The Annunciation (1888) is an example.He was also a successful portrait painter and many of his paintings of wealthy patrons remain in private hands.

Bouguereau steadily gained the honors of the Academy, reaching Life Member in 1876, and Commander of the Legion of Honor and Grand Medal of Honor in 1885.

He began to teach drawing at the Académie Julian in 1875, a co-ed art institution independent of the École des Beaux-Arts, with no entrance exams and with nominal fees.

In 1877, both his wife and infant son died. At a rather advanced age, Bouguereau was married for the second time in 1896, to fellow artist Elizabeth Jane Gardner Bouguereau, one of his pupils.He used his influence to open many French art institutions to women for the first time, including the Académie française.

Near the end of his life he described his love of his art: "Each day I go to my studio full of joy; in the evening when obliged to stop because of darkness I can scarcely wait for the next morning to come ... if I cannot give myself to my dear painting I am miserable."He painted 826 paintings.

In the spring of 1905, Bouguereau's house and studio in Paris were burgled. On August 19, 1905, Bouguereau died in La Rochelle at the age of 79 from heart disease.

Fame, fall, and rise In his own time, Bouguereau was considered to be one of the greatest painters in the world by the academic art community, and simultaneously he was reviled by the avant-garde. He also gained wide fame in Belgium, the Netherlands, Spain, and in the United States, and commanded high prices.

Bouguereau’s career was close to a direct ascent with hardly a setback.

To many, he epitomized taste and refinement, and a respect for tradition. To others, he was a competent technician stuck in the past. Degas and his associates used the term "Bouguereauté" in a derogatory manner to describe any artistic style reliant on "slick and artificial surfaces", also known as a licked finish. In an 1872 letter, Degas wrote that he strove to emulate Bouguereau’s ordered and productive working style, although with Degas' famous trenchant wit, and the aesthetic tendencies of the Impressionists, it is possible the statement was meant to be ironic.Paul Gauguin loathed him

rating him a round zero in meet the ideals of a New York Racontars de Rapin and later stockbroker of the black walnut describing in Avant et après generation." Bouguereau confessed (Intimate Journals) the single in 1891 that the direction of his occasion when Bouguereau made mature work was largely a response him smile on coming across a to the marketplace: "What do you couple of his paintings in an Arles' expect, you have to follow public brothel, "where they belonged". taste, and the public only buys Bouguereau’s works were eagerly what it likes. That's why, with time, bought by American millionaires I changed my way of painting." who considered him the most After 1920, Bouguereau fell into important French artist of that disrepute, due in part to changing time. But even during his lifetime tastes.Comparing his work to that there was critical dissent in of his Realist and Impressionist assessing his work; the art historian contemporaries, Kenneth Clark Richard Muther wrote in 1894 that faulted Bouguereau’s painting for Bouguereau was a man "destitute "lubricity", and characterized such of artistic feeling but possessing a Salon art as superficial, employing cultured taste reveals... in his the "convention of smoothed-out feeble mawkishness, the fatal form and waxen surface." decline of the old schools of In 1974, the New York Cultural convention." In 1926, American art Center staged a show of historian Frank Jewett Mather Bouguereau's work partly as a criticized the commercial intent of curiosity, although curator Robert Bouguereau’s work, writing that theIsaacson had his eye on the longartist "multiplied vague, pink term rehabilitation of Bouguereau's effigies of nymphs, occasionally legacy and reputation.In 1984, the draped them, when they became Borghi Gallery hosted a commercial saints and madonnas, painted on show of 23 oil paintings and one the great scale that dominates an drawing. In the same year a major exhibition, and has had his reward. exhibition was organized by the I am convinced that the nude of Montreal Museum of Fine Arts in Bouguereau was prearranged to Canada.

The exhibition opened at the Musée du Petit-Palais, in Paris, traveled to The Wadsworth Atheneum in Hartford, and concluded in Montréal. More recently, resurgence in the artist's popularity has been promoted by American collector Fred Ross, who owns a number of paintings by Bouguereau and features him on his website at Art Renewal Center Since 1975 prices for Bouguereau's works have climbed steadily, with major paintings selling at high prices: $1,500,000 in 1998 for The Heart's Awakening, $2,600,000 in 1999 for Alma Parens and Charity at auction in May 2000 for $3,500,000. Bouguereau's works are in many public collections.

“Notre Dame des Anges” (“Our Lady of the Angels") was last shown publicly in the United States at the World’s Columbian Exhibition in Chicago in 1893. In 2002 it was donated to the Daughters of Mary Mother of Our Savior,

an order of nuns is affiliated with Clarence Kelly's Traditionalist Catholic Society of St. Pius V. In 2009 the nuns sold it to an art dealer for $450,000, who was able to sell it for more than $2 million dollars. Kelly was subsequently found guilty by an Albany, New York jury of defaming the dealer in remarks made in a television interview.."

As a teacher From the 1860s, Bouguereau was closely associated with the Académie Julian where he gave lessons and advice to art students, male and female, from around the world. During several decades he taught drawing and painting to hundreds, if not thousands, of students. Many of them managed to establish artistic careers in their own countries, sometimes following his academic style, and in other cases, rebelling against it, like Henri Matisse. He married his most famous pupil, Elizabeth Jane Gardner, after the death of his first wife.

FLUX EXHIBTION nd 2

Th 6

– November 2016 140 Contemporary Artist

LONDON

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Haydar Hatemi

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Haydar Hatemi Born March 3, 1945Hadishahr(Alamdar)is an Iranian of Iranian Azerbaijani origin. artist whose work is based on blends of classical oriental styles such as miniature and tazhib, with some modern elements. His early studies in art started at Tabriz's Art Academy after finishing high school in Tabriz, Iran.

Hatemi is a graduate of the prestigious Fine Arts Academy of Tehran University. He moved to Turkey in 1983. He is one of the most significant artists of the Iranian and Azerbaijani diaspora.

He has been working under the commission of the Qatari Royal family for the last decade.

Bageri and studied sculpture techniques from Master Ashot Babayan. He continued his art studies at the Art Academy of Tehran and was privileged to be trained under masters Hussain Behzad and Abu Talib Mugimi.

Shah's period Hatemi soon gained celebrity status during his sophomore year in college when he won the national award for designing the Takht-eTavus medal for the international Cancer Society. This award was presented to him by the Queen of Iran, Farah Pahlavi. Hatemi also taught sculpture classes in Shahnaz Pahlavi Art Academy.

Early life During his college years in Tehran Hatemi, an Iranian Azerbaijani University, Hatemi won first place in started painting aged 14, while he multiple competitions which was continuing high school in included design of the Logo of the Tabriz. His early studies in art Isfahan University and the Logo of started at Tabriz's Art Academy the Shahpur Petro-Chemicals. after finishing Tabriz middle school, Iran. It was during this time there that he learned the tazhib technique from Master Abduhl

He also designed the gold coins in commemoration of the 2500th anniversary of the Persian Empire.

Between 1972-1978, Hatemi established the Design Art Center in Tehran and produced very large sculptures commissioned by the Mayor of Tehran. His statue of Shah Abbas on horseback is on display at Isfahan's Square and a statue called Birds and the Rock at Argentina Paintings Square in Tehran.

Early in his career, Hatemi took After 1979 - Istanbul, Turkey great interest in the tazhib After the Iranian revolution, technique and miniature paintings Hatemi moved to Turkey with his in particular. His main goal to apply young family in 1983. his style to Ottoman Empire theme He continued his painting in Bursa was very well received by the and Istanbul and started the Turkish art scene. His admiration orientalist movement within the for miniature masters and his Turkish art world. During this desire to apply this to a newer period his paintings became part subjects lead to the creation of his of the SabancÄą Collection and "Stories of the Messengers" series many other private collections. in the early 2003 which became his most celebrated and famous series.

In these series, Hatemi depicts stories of messengers which are common to Quran, Bible and Torah.

He also paints scenes of old Istanbul which was commissioned by the royal family of Qatar.

Istanbul & Istanbul series are the best example for this technique.

Beyond Printmaking 5: 2017 National Juried Exhibition & Symposium MARCH 25 - APRIL 23, 2017 | SUBMISSIONS DUE: NOVEMBER 30, 2016 Beyond Printmaking is an art competition and exhibition organized by the Printmaking Area and Landmark Arts at Texas Tech School of Art. As much as printmaking has been loved for its traditional resonance, its versatility applied in multimedia sees no limitations. In this 5th exhibition, we are looking for artists who have a vision of printmaking beyond the traditional practices, who push the technological and conceptual limits of what is considered printmaking.

Beyond Printmaking 5 is a hybrid exhibition. While most of the works will be selected from the submissions received, the curator will have an opportunity to "fill in the gaps" with curated works, works of her own choosing from invited artists. This practice, first begun with Beyond Printmaking 4, helps assure that the exhibition more fully explore and present the expanded field of printmaking.

JUROR/CURATOR: Patricia Villalobos Echeverria has a hybrid practice of photos, prints, videos and installations. She has received numerous grants including a Creative Heights Residency Fellowship from the Heinz Endowment and was a fellow at the MacDowell Arts Colony. She received an MFA from West Virginia University and a BFA from Louisiana State University. Her work was part of the "Post-Digital Printmaking: Redefinition of the concept of matrix" at Neon Gallery (Wroclaw, Poland) in 2015. She is Professor of Art at the Frostic School of Art, Western Michigan University.

ELIGIBILITY: Open to professional artists living in the U.S. who are 18 and older. All media expanding the notion of printmaking, including time-based and installation, will be considered. An artist's statement illuminating the artist's conception of printmaking must be included with the entry. Work must be original and completed within the last 2 years.

AWARDS: $2500 in cash prizes to be awarded by the Juror at her discretion.

14 MORE INFORMATION & SUBMISSION GUIDELINES: www.art.ttu.edu/BP5

The Arg-e Bam was the largest adobe building in the world, located in Bam, a city in Kerman Province of southeastern Iran. It is listed by UNESCO as part of the World Heritage Site "Bam and its Cultural Landscape". The origin of this enormous citadel on the Silk Road can be traced back to the Achaemenid Empire (sixth to fourth centuries BC) and even beyond. The heyday of the citadel was from the seventh to eleventh centuries, being at the crossroads of important trade routes and known for the production of silk and cotton garments.

The entire building was a large fortress in whose heart the citadel itself was located, but because of the impressive look of the citadel, which forms the highest point, the entire fortress is named the Bam Citadel.

On December 26, 2003, the Citadel was almost completely destroyed by an earthquake, along with much of the rest of Bam and its environs.

A few days after the earthquake, the President of Iran, Mohammad Khatami, announced that the Citadel would be rebuilt.

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Dimensions Larger than nearby Rayen Castle, the area of Bam Citadel is approximately 180,000 square meters (44 acres), and it is surrounded by gigantic walls 6–7 metres (20–23 ft) high and 1,815 metres (5,955 ft) long. The citadel features two of the "stay-awake towers" for which Bam is famed there are as many as 67 such towers scattered across the ancient city of Bam. Citadel design and architecture The planning and architecture of the citadel are thought out from different points of view.

From the present form of the citadel one can see that the planner(s) had foreseen the entire final form of the building and city from the first steps in the planning process.

During each phase of building development the already-built part enjoyed a complete figure, and each additional part could be "sewn" into the existing section seamlessly.

The citadel is situated in the center of the fortress-city, on the point with widest view for security.

In the architectural form of Bam Citadel there are two different distinguishable parts: The rulers' part in the most internal wall, holding the citadel, barracks, mill, 4-season house, water-well (dug in the rocky earth and about 40 metres deep), and a stable for 200 horses.

The ruled-over part surrounding the rulers' place, consisting of the main entrance of the entire fortress-city and the bazaar alongside of the North-to-South spinal axis (which connects the main entrance to the citadel), and around 400 houses with their associated public buildings (such as a school and sport place).

Among the houses, three different types are recognizable: Smaller houses with 2-3 rooms for the poor families.

Bigger houses with 3-4 rooms for the middle social class, some of which have also a veranda.

The most luxurious houses with more rooms oriented in different directions suitable for different seasons of the year, together with a big court and a stable for animals nearby. There are few of this type of houses in the fortress.

All buildings are made of non-baked clay bricks, i.e. adobes. Bam Citadel was probably, prior to the 2003 earthquake, the biggest adobe structure in the world.

The Citadel was used as the major location site for Valerio Zurlini's film, The Desert of the Tartars.

Oak Knoll Oak Woodland - Public Art Call Deadline: October 28th, 2016 Public Art Call SunCal, the master developer of the Oak Knoll community, Oakland, California is seeking an artist or a team of artists who will create permanent art that respects and takes advantage of the natural setting of the woodland. Artists will work with the landscape architect to safely integrate the installation. This project will require materials that are permanent, durable, weather resistant and low maintenance.

Project Description A 120-foot-wide by 930-foot-long woodland adjacent to Rifle Range Creek, populated with mature oaks, will be preserved during development. A footpath of decomposed granite will be installed through the length of the woodland parallel with the creek. The footpath will connect to a pedestrian bridge at the south and a community center at the north. During the Rifle Range Creek restoration, the woodland will be cleared of all invasive species and debris remaining from Naval activities, and arborists will assess the health of the trees.

Some damaged and diseased trees will need to be removed. However, the desire is to preserve and protect the woodland.

Important Dates Application deadline - October 28, 2016 Selection process - November 2016 Notification of three finalists - November 2016 Proposal presentation to selection panel - January 2017 Notification of finalist - January 2017 Contract negotiation - January 2017 Project installation - Spring 2019 For More Information: Website: http://www.oakknollcommunity.com/public-art/ Download Prospectus (.PDF): http://www.oakknollcommunity.com/i/oak_woodland_RFQ_final.pdf Contact: Philip Dow (510) 427-4496 publicart@oakknollcommunity.com

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