Aziz art september 2016

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Ira n Da rr ou di competition

Aziz Art

September 2016

Iran

1-Van Gogh 13-Iran 14-competition 15-Iran Darroudi 18-competition 19-Jamshid Mashayekhi 22-competition 23-Iran

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

http://www.aziz-anzabi.com

Van Gogh

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time as a missionary in southern Belgium. Later he drifted in ill30 March 1853 – 29 July 1890. health and solitude. He was keenly was a Dutch Post-Impressionist aware of modernist trends in art painter who is among the most and, while back with his parents, famous and influential figures in the history of Western art. In just took up painting in 1881. His younger brother, Theo, supported over a decade he created him financially, and the two of approximately 2100 artworks, including around 860 oil paintings, them kept up a long most of them in the last two years correspondence by letter. of his life. They include Van Gogh's early works, mostly still landscapes, still lifes, portraits lifes and depictions of peasant and self-portraits, and are labourers, contain few signs of the characterised by bold, symbolic colours, and dramatic, impulsive vivid colour that distinguished his and highly expressive brushwork later work. In 1886 he moved to Paris and discovered the French that contributed to the foundations of modern art. He Impressionists. As his work sold only one painting during his developed he created a new lifetime and became famous after approach to still lifes and local landscapes. His paintings grew his suicide, aged 37, which f brighter in colour as he developed ollowed years of poverty and a style that became fully realised mental illness. during his stay in Arles in the south of France in 1888. He lived there in Born into an upper-middle-class the Yellow House and, with the family, Van Gogh drew as a child French artist Paul Gauguin, and was serious, quiet and developed a concept of colour that thoughtful, but showed signs of mental instability. As a young man symbolised inner emotion. During he worked as an art dealer, often this period he broadened his travelling, but became depressed subject matter to include olive after he was transferred to London. trees, cypresses, wheat fields and sunflowers.

He turned to religion, and spent

Vincent Willem van Gogh

Van Gogh suffered from psychotic episodes and delusions and, though he worried about his mental stability, he often neglected his physical health, not eating properly and drinking heavily. His friendship with Gauguin came to an end after a violent encounter when he threatened the Frenchman with a razor, and in a rage, cut off part of his own left ear. While in a psychiatric hospital in Saint-RĂŠmy his condition stabilised, leading to one of the more productive periods of his life. He moved to the Auberge Ravoux in Auvers-sur-Oise near Paris under the care of the homeopathic doctor and artist, Paul Gachet. During this time, his brother Theo wrote that he could no longer support him financially.

A few weeks later, on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later.

Considered a madman and a failure in his lifetime, Van Gogh exists in the public imagination as the quintessential misunderstood genius, the artist

"where discourses on madness and creativity converge." His reputation began to grow in the early 20th century as elements of his painting style came to be incorporated by the Fauves and German Expressionists. He attained widespread critical, commercial and popular success over the ensuing decades, and is remembered as an important but tragic painter, whose troubled personality typifies the romantic ideal of the tortured artist Early years Vincent Willem van Gogh was born on 30 March 1853 in GrootZundert, in the predominantly Catholic province of North Brabant in the southern Netherlands.He was the oldest surviving child of Theodorus van Gogh, a minister of the Dutch Reformed Church, and Anna Cornelia Carbentus. Van Gogh was given the name of his grandfather, and of a brother stillborn exactly a year before his birth.[note 2] Vincent was a common name in the Van Gogh family: his grandfather, Vincent (1789–1874), who received a degree in theology at the University of Leiden in 1811, had six sons,

three of whom became art dealers. This Vincent may have been named after his own great-uncle, a sculptor (1729–1802).

Van Gogh's mother came from a prosperous family in The Hague, and his father was the youngest son of a minister.The two met when Anna's younger sister, Cornelia, married Theodorus's older brother Vincent (Cent).

Van Gogh's parents married in May 1851 and moved to Zundert.His brother Theo was born on 1 May 1857.

There was another brother, Cor, and three sisters: Elisabeth, Anna, and Willemina (known as "Wil").

In later life Van Gogh remained in touch only with Willemina and Theo.Van Gogh's mother was a rigid and religious woman who emphasised the importance of family to the point of claustrophobia for those around her. Theodorus's salary was modest, but the Church supplied the family with a house, a maid, two cooks, a gardener, a carriage and horse, and Anna instilled in the

children a duty to uphold the family's high social position.

Black-and-white formal head shot photo of the artist as a boy in jacket and tie. He has thick curly hair and very pale-coloured eyes with a wary, uneasy expression.

Vincent c. 1866, about 13 years old Van Gogh was a serious and thoughtful child. He was taught at home by his mother and a governess, and in 1860 was sent to the village school. In 1864 he was placed in a boarding school at Zevenbergen, where he felt abandoned, and campaigned to come home. Instead, in 1866 his parents sent him to the middle school in Tilburg, where he was deeply unhappy.His interest in art began at a young age; encouraged to draw as a child by his mother,his early drawings are expressive, but do not approach the intensity developed in his later work.Constantijn C. Huysmans, who had been a successful artist in Paris, taught the students at Tilburg. His philosophy was to reject technique in favour of capturing the impressions of things, particularly nature or common objects.

Van Gogh's profound unhappiness seems to have overshadowed the lessons, which had little effect.In March 1868, he abruptly returned home. Later he wrote that his youth was "austere and cold, and sterile."

In July 1869 Van Gogh's uncle Cent obtained a position for him at the art dealers Goupil & Cie in The Hague.After completing his training in 1873, he was transferred to Goupil's London branch, at 17 Southampton Street, and took lodgings at 87 Hackford Road, Stockwell.

This was a happy time for Van Gogh; he was successful at work, and at 20 was earning more than his father. Theo's wife later remarked that this was the best year of his life. He became infatuated with his landlady's daughter, EugĂŠnie Loyer, but was rejected after confessing his feelings; she was secretly engaged to a former lodger. He grew more isolated, and religiously fervent. His father and uncle arranged a transfer to Paris in 1875, where he became

resentful of issues such as the degree to which the firm commodified art, and was dismissed a year later.

In April 1876 Van Gogh returned to England, taking unpaid work as a supply teacher in a small boarding school in Ramsgate. When the proprietor moved to Isleworth in Middlesex, Van Gogh went with him. The arrangement did not work out and he left to become a Methodist minister's assistant.His parents had meanwhile moved to Etten; in 1876 he returned home at Christmas for six months and took work at a bookshop in Dordrecht.

He was unhappy in the position and spent his time doodling or translating passages from the Bible into English, French and German.

He immersed himself in religion, and became increasingly pious and monastic.According to his flat-mate of the time, Paulus van GĂśrlitz, Van Gogh ate frugally, avoiding meat.

Photo of a two-storey brick house on the left partially obscured by trees with a front lawn and with a row of trees on the right

Van Gogh's home in Cuesmes in 1880; while there he decided to become an artist To support Van Gogh's religious convictions and his desire to become a pastor, in 1877 the family sent him to stay with his uncle Johannes Stricker, a respected theologian, in Amsterdam.Van Gogh prepared for the University of Amsterdam theology entrance examination; he failed the exam, and left his uncle's house in July 1878. He undertook, but also failed, a threemonth course at a Protestant missionary school in Laken, near Brussels.

In January 1879 Van Gogh took a post as a missionary at PetitWasmes in the coal-mining district of Borinage in Belgium.

To show support for his impoverished congregation, he gave up his comfortable lodgings at a bakery to a homeless person, and moved to a small hut where he slept on straw.His squalid living conditions did not endear him to church authorities, who dismissed him for "undermining the dignity of

the priesthood". He then walked the 75 kilometres (47 mi) to Brussels, returned briefly to Cuesmes in the Borinage, but gave in to pressure from his parents to return home to Etten. He stayed there until around March 1880,which caused concern and frustration for his parents. There was particular conflict between Van Gogh and his father, who considered committing him to the lunatic asylum at Geel.

Returning to Cuesmes in August 1880, Van Gogh lodged with a miner until October.He became interested in the people and scenes around him, and recorded them in drawings after Theo's suggestion that he take up art in earnest. He travelled to Brussels later in the year, to follow Theo's recommendation that he study with the Dutch artist Willem Roelofs, who persuaded him – in spite of his dislike of formal schools of art – to attend the Académie Royale des Beaux-Arts. He registered at the Académie in November 1880, where he studied anatomy and the standard rules of modelling and perspective

Artistic development A view of a dark starry night with bright stars shining over the River Rhone. Across the river distant buildings with bright lights shining are reflected into the dark waters of the Rhone.

Starry Night Over the Rhone, 1888. MusĂŠe d'Orsay, Paris Van Gogh drew and painted with watercolours while at school, but only a few examples survive and the authorship of some has been challenged.When he took up art as an adult, he began at an elementary level. In early 1882, his uncle, Cornelis Marinus, owner of a well-known gallery of contemporary art in Amsterdam, asked for drawings of The Hague.

Van Gogh's work did not live up to expectations. Marinus offered a second commission, specifying the subject matter in detail, but was again disappointed with the result.

Van Gogh persevered; he experimented with lighting in his studio using variable shutters, and with different drawing materials. For more than a year he worked on single figures – highly elaborate studies in black and white,

which at the time gained him only criticism.

Later, they were recognised as his first masterpieces.

In August 1882 Theo gave Vincent money to buy materials for working en plein air. Vincent wrote that he could now "go on painting with new vigour".From early 1883 he worked on multi-figure compositions. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, he destroyed them and turned to oil painting. Van Gogh turned to wellknown Hague School artists like Weissenbruch and Blommers, and received technical advice from them, as well as from painters like De Bock and Van der Weele, both artists of the Hague School's second generation.When he moved to Nuenen after the period in Drenthe he began several large paintings but destroyed most of them. The Potato Eaters and its companion pieces are the only ones to have survived. Following a visit to the Rijksmuseum, Van Gogh was aware that many of his faults were due to lack of experience and technical expertise,

so in November 1885 he travelled to Antwerp and later Paris to learn and develop his skills.

A squarish painting of green winding olive trees; with rolling blue hills in the background and white clouds in the blue sky above.

Olive Trees with the Alpilles in the Background, 1889. Museum of Modern Art, New York Theo criticised The Potato Eaters for its dark palette, which he thought unsuitable for a modern style.During Van Gogh's stay in Paris between 1886 and 1887, he tried to master a new, lighter palette. His Portrait of Père Tanguy (1887) shows his success with the brighter palette, and is evidence of an evolving personal style. Charles Blanc's treatise on colour interested him greatly, and led him to work with complementary colours.

Van Gogh came to believe that the effect of colour went beyond the descriptive; he said that "colour expresses something in itself". According to

Hughes,

Van Gogh perceived colour as having a "psychological and moral weight", as exemplified in the garish reds and greens of The Night Cafe, a work he wanted to "express the terrible passions of humanity".Yellow meant the most to him, because it symbolised emotional truth. He used yellow as a symbol for sunlight, life, and God. Throughout his career Van Gogh strove to be a painter of rural life and nature,and during his first summer in Arles he used his new palette to paint landscapes and traditional rural life.His belief that a power existed behind the natural led him to try to capture a sense of that power, or the essence of nature in his art, sometimes through the use of symbols.His renditions of the sower, at first copied from Jean-François Millet, reflect Van Gogh's religious beliefs: the sower as Christ sowing life beneath the hot sun. These were themes and motifs he returned to often to rework and develop

His paintings of flowers are filled with symbolism, but rather than use traditional Christian iconography he made up his own, where life is lived under the sun and work is an allegory of life.In Arles, having gained confidence after painting spring blossoms and learning to capture bright sunlight, he was ready to paint The Sower.The juxtaposition of saturated complementary colours and the single figure in the landscape represent a unique and innovative style.

A squarish painting of a closeup of two women with one holding an umbrella while the other woman holds flowers.

Behind them is a young woman who is picking flowers in a large bed of wildflowers. They appear to be walking through a garden on a winding path at the edge of a river. Memory of the Garden at Etten (Ladies of Arles), 1888.

Hermitage Museum, St Petersburg Van Gogh stayed within what he called the "guise of reality", and was critical of overly stylised works. He wrote afterwards that the abstraction of Starry Night had gone too far and that reality

had "receded too far in the background".Hughes describes it as a moment of extreme visionary ecstasy: the stars are in a great whirl, reminiscent of Hokusai's Great Wave, the movement in the heaven above is reflected by the movement of the cypress on the earth below, and the painter's vision is "translated into a thick, emphatic plasma of paint."

Between 1885 and his death in 1890, Van Gogh appears to have been building an oeuvre,a collection that reflected his personal vision, and could be commercially successful. He was influenced by Blanc's definition of style, that a true painting required optimal use of colour, perspective and brushstrokes. Van Gogh applied the word "purposeful" to paintings he thought he had mastered, as opposed to those he thought of as studies.He painted many series of studies; most of which were still lifes, many executed as colour experiments or as gifts to friends.The work in Arles contributed considerably to his oeuvre: those he thought the most important from that time were The Sower

Night Cafe, Memory of the Garden The style Van Gogh found was in Etten and Starry Night. With theirrevolutionary "in the very look of broad brushstrokes, inventive his pictures, their coarseness and perspectives, colours, contours and deliberately unfinished quality, designs, these paintings represent [and] the vigor with which they the style he sought. He considered were painted."His art, with its The Bedroom his best work of that emphasis on the common people period, because of the inventive and a wish for a better world, use of perspective, combined with presages the 20th century and Impressionist techniques. modernism.

Mashhad

Isfahan

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Iran Darroudi

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Iran Darroudi born September 2, 1936 in Mashhad is a contemporary Iranian artist, living between Tehran and Paris.Her art consists of surreal paintings dealing with Iranian themed imagery and strong lighting.

Early life Born in Mashhad, Iran to a family consisting of traders from Khorasan on her fathers side and on her mothers side the family was Caucasian merchants who had settled in Mashhad.Her family moved to Hamburg, Germany for her fathers business in 1937 and by the early 1940s they were forced to leave because of the beginnings of World War II. By 1945 her family returned to Mashhad.

Career Darroudi's first solo exhibition was held in Miami in 1958 at the invitation of the Florida State Art Center.

She wrote articles on the history of art and art criticism for the conservative Iranian newspaper, Kayhan.

In 1966 in New York, she met and married Parviz Moghaddasi, who was studying television direction.

The couple worked at the newly established Iranian television organization as producer and director for six years.

In 1968 she made 55 minute long documentary about the 1968 Venice Biennial. She was appointed as an honorary professor at the Industrial University of Tehran, Darroudi studied at teaching art history. In 1969 the ITT Ecole Superier des Beaux-Arts in Corporation commissioned her to Paris, history of art at the École du paint Iranian Oil. She held Louvre in Paris, stained glass at the successful exhibitions in Paris and Royal Academy of Brussels,and at the Atrium Artist Gallery, television direction and production Geneva, and a month later at at the RCA Institute in New York. Galarie 21, Zurich. .

In 1976 she exhibited at the Mexican Museum of Art, where Antonio Rodriquez praised her as one of the world's four greatest painters.In 1978 she moved to France Her husband died in 1985 and her first artwork after his death was Assumption of Parviz solo exhibitions 2008 - Tehran Museum of Contemporary Art 1999 - L.A. University, Los Angeles 1999 - Virginia Tech University, Blacksburg, Virginia 1994 - United Nations, New York 1975 - La Galleria Gallery, Mexico 1960 - Farhang Hall, Iran 1958 - Miami Beach Art Center, Miami, Florida Bibliography In 1974 a film on Darroudi's life directed by Victor Stoloff was

broadcast on American television.

In 1997, her autobiography, In the Distance Between Two Points, was published.

In 2009 a documentary Iran Darroudi: The Painter of Ethereal Moments produced by Bahman Maghsoudlou, focused on the life and art of Darroundi

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Jamshid Mashayekhi born 26 November 1934 is an Iranian actor in Iranian cinema.

Mashayekhi began professional acting on stage in 1957. His first feature film role was Brick and Mirror (1965, Ebrahim Golestan). After a fouryear break, he acted in The Cow (1969, Darius Mehrjui) and Kaiser (Qeysar) (1969, Masoud Kimiai). Mashayekhi commonly appears as an elderly grandfather because of his white hair and charismatic face and figure. He received a best performance award for The Grandfather (1985, Majid Gharizadeh) from the First Festival of Non-aligned Countries in North Korea.

Selected filmography Adobe and Mirror (1964) Kaiser (Qeysar, 1969) The Cow (Gaav, 1969) The Curse, 1973 Prince Ehtedjab, 1974 Brefts of Hope, 1977 Hezar Dastan, (1978-1987, TV series) Kamalolmolk, 1983 The Lead, 1988 Honeymoon, 1992 The Fateful Day, 1994 Khane'i Rooy-e Āb (A House Built on Water), directed by Bahman Farmān'ārā, 2001 Rising (Tolooa, 2001) directed by Hossein Shahabi Abadan, 2003 Pol-e Siz'da'hom (The Thirteenth Bridge), directed by Farhad Gharib, 2005 Yek Bus-e Ku'chu'lu (A Teensy Kiss), directed by Bahman Farmān'ārā, 2005

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Tehran

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