Btes Museum of Art
AzizArt
Novamber2016
Khosrow Hassanzadeh
Iran Ardabil
Lucian Michael Freud
Guity Novin
2-Khosrow Hassanzadeh 5-Lucian Michael Freud 15-Guity Novin 19-Ardabil
Director: Aziz Anzabi Editor : Nafiseh Yaghoubi Translator : Asra Yaghoubi Research: Zohreh Nazari
http://www.aziz_anzabi.com
Khosrow Hassanzadeh born 1963 in Tehran is an Iranian painter. He is known for his "Terrorist" collection. Hassanzadeh was born in 1963 in Tehran, to a working class Azerbaijani family and currently lives and works in Tehran, where he works as an actor and visual artist. His work featured in many exhibitions in Europe and the Middle East. Hassanzadeh works primarily with painting, silkscreen and mixed media. His works often deal with issues that are considered sensitive in Iranian society and therefore he is frequently referred to as a 'political' artist. Hassanzadeh first gained international recognition with War (1998), a grim and trenchant diary of his own experiences as a volunteer soldier during the IranIraq war (1980–1988). In Ashura (2000) a 'women-friendly' interpretation of the most revered Shiite religious ceremony, he depicted chador-clad women engulfed by religious iconography.
Chador (2001) and Prostitutes (2002) continued his exploration of sociological themes particular to Iran's hyper-gendered urban landscape. The latter paintings used police mug shots to pay tribute to sixteen prostitutes killed by a serial killer in Mashhad, a religious capital of Iran. The paintings were created after filmmaker Maziar Bahari commissioned Hassanzadeh to create a poster for his film, And Along Came a Spider. In Terrorist (2004) the artist questions the concept of 'terrorism' in international politics by portraying himself, his mother and sisters as 'terrorists'. He studied painting at Mojtama-eHonar University (1989–91) and Persian Literature at Azad University (1995–99), both in Tehran. Khosrow Hassanzadeh has had solo shows in Amsterdam, Beirut, Dubai, London, Phnom Penh, and Tehran. His work is held by the British Museum, the Tehran Museum of Contemporary Art, the World Bank and the Tropenmuseum. 2
5
Lucian Michael Freud 8 December 1922 – 20 July 2011 was a German-born British painter and draftsman, specialising in figurative art, and is known as one of the foremost 20th-century portraitists. He was born in Berlin, the son of a Jewish architect and the grandson of Sigmund Freud. His family moved to Britain in 1933 to escape the rise of Nazism. From 1932-33 he attended Goldsmiths College, London. He enlisted in the Merchant Navy during World War II. His early career as a painter was influenced by surrealism, but by the early 1950s his often stark and alienated paintings tended towards realism. Freud was an intensely private and guarded man, and his paintings, completed over a 60-year career, are mostly of friends and family. They are generally somber and thickly impastoed, often set in unsettling interiors and city scapes. The works are noted for their
psychological penetration and often discomforting examination of the relationship between artist and model. Freud worked from life studies, and was known for asking for extended and punishing sittings from his models.
Early life and family Born in Berlin, Freud was the son of a German Jewish mother, Lucie (nĂŠe Brasch), and an Austrian Jewish father, Ernst L. Freud, an architect.He was a grandson of Sigmund Freud, and elder brother of the broadcaster, writer and politician Clement Freud (thus uncle of Emma and Matthew Freud) and the younger brother of Stephan Gabriel Freud. The family emigrated to St John's Wood, London, in 1933 to escape the rise of Nazism. Lucian became a British subject in 1939, having attended Dartington Hall School in Totnes, Devon, and later Bryanston School, for a year before being expelled due to disruptive behaviour.
Early career frequent visitor to Dublin where he Freud briefly studied at the Central would share Patrick Swift's studio. School of Art in London, and from In late 1952, Freud and Lady 1939 to 1942 with greater success Caroline Blackwood eloped to Paris at Cedric Morris' East Anglian where they married in 1953. He School of Painting and Drawing in remained a Londoner for the rest of Dedham, relocated in 1940 to his life. Benton End, a house near Freud was part of a group of Hadleigh, Suffolk. He also figurative artists later named "The attended Goldsmiths' College, part School of London".This was more a of the University of London, in loose collection of individual artists 1942–43. He served as a merchant who knew each other, some seaman in an Atlantic convoy in intimately, and were working in 1941 before being invalided out of London at the same time in the service in 1942.In 1943, the poet figurative style (but during the and editor Meary James boom years of abstract painting). Thurairajah Tambimuttu The group was led by figures such commissioned the young artist to as Francis Bacon and Freud, and illustrate a book of poems by included Frank Auerbach, Michael Nicholas Moore entitled The Glass Andrews, Leon Kossoff, Robert Tower. It was published the Colquhoun, Robert MacBryde, following year by Editions Poetry Reginald Gray and Kitaj himself. He London and comprised, among was a visiting tutor at the Slade other drawings, a stuffed zebra School of Fine Art of University and a palm tree. Both subjects College London from 1949 to 1954. reappeared in The Painter's Room Mature style on display at Freud's first solo Freud's early paintings, which are exhibition in 1944 at the Alex Reid mostly very small, are often & Lefevre Gallery. In the summer associated with German of 1946, he travelled to Paris Expressionism (an influence he before continuing to Greece for tended to deny) and Surrealism in several months to visit John depicting people, Craxton. In the early fifties he was a
plants and animals in unusual juxtapositions. Some very early works anticipate the varied flesh tones of his mature style, for example Cedric Morris (1940, National Museum of Wales), but after the end of the war he developed a thinly painted very precise linear style with muted colours, best known in his selfportrait Man with Thistle (1946, Tate) and a series of large-eyed portraits of his first wife, Kitty Garman, such as Girl with a Kitten (1947, Tate). These were painted with tiny sable brushes and evoke Early Netherlandish painting. From the 1950s, he began to focus on portraiture, often nudes (though his first full length nude was not painted until 1966), to the almost complete exclusion of everything else, and by the middle of the decade developed a much more free style using large hogshair brushes, concentrating on the texture and colour of flesh, and much thicker paint, including impasto. Girl with a white dog, 1951–1952, (Tate) is an example of a transitional work in this process, sharing many characteristics with paintings before and after it, with
relatively tight brushwork and a middling size and viewpoint. He would often clean his brush after each stroke when painting flesh, so that the colour remained constantly variable. He also started to paint standing up, which continued until old age, when he switched to a high chair.The colours of non-flesh areas in these paintings are typically muted, while the flesh becomes increasingly highly and variably coloured. By about 1960, Freud had established the style that he would use, with some changes, for the rest of his career. The later portraits often use an over life-size scale, but are of mostly relatively small heads or in half-lengths. Later portraits are often much larger. In his late career he often followed a portrait by producing an etching of the subject in a different pose, drawing directly onto the plate, with the sitter in his view. Freud's portraits often depict only the sitter, sometimes sprawled naked on the floor or on a bed or alternatively juxtaposed with something else, as in Girl With a White Dog (1951–52) and Naked Man With Rat (1977–78).According to Edward Chaney,
"The distinctive, recumbent manner in which Freud poses so many of his sitters suggests the conscious or unconscious influence both of his grandfather's psychoanalytical couch and of the Egyptian mummy, his dreaming figures, clothed or nude, staring into space until (if ever) brought back to health and/or consciousness. The particular application of this supine pose to freaks, friends, wives, mistresses, dogs, daughters and mother alike (the latter regularly depicted after her suicide attempt and eventually, literally mummylike in death),
He had a special passion for horses, having enjoyed riding at school in Dartington, where he sometimes slept in the stables.His portraits solely of horses include Grey Gelding (2003), Skewbald Mare (2004), and Mare Eating Hay (2006). Wilting houseplants feature prominently in some portraits, especially in the 1960s, and Freud also produced a number of paintings purely of plants.Other regular features included mattresses in earlier works, and huge piles of the linen rags with which he used to clean his brushes in later ones.Some portraits, especially in the 1980s, have very carefully painted views of London roofscapes seen through the studio tends to support this hypothesis." windows. The use of animals in his Freud's subjects, who needed to compositions is widespread, and make a very large and uncertain often he features a pet and its commitment of their time, were owner. Other examples of often the people in his life; friends, portraits with both animals and family, fellow painters, lovers, people in Freud's work include children. He said, "The subject Guy and Speck (1980–81), matter is autobiographical, it's all to Eli and David (2005–06) and do with hope and memory and Double Portrait (1985–86). sensuality and involvement, really.
"However the titles were mostly characterised as "an outstanding anonymous, and the identity of the raconteur and mimic". Regarding sitter not always disclosed; the the difficulty in deciding when a Duke and Duchess of Devonshire painting is completed, Freud said had a portrait of one of Freud's that "he feels he's finished when he daughters as a baby for several gets the impression he's working on years before he mentioned somebody else's painting". who the model was. In the 1970s Paintings were divided into day Freud spent 4,000 hours on a paintings done in natural light and series of paintings of his mother, night paintings done under artificial about which art historian light, and the sessions, and lighting, Lawrence Gowing observed were never mixed. "it is more than 300 years since a It was Freud's practice to begin a painter showed as directly and as painting by first drawing in charcoal visually his relationship with his on the canvas. He then applied mother. And that was Rembrandt." paint to a small area of the canvas, Freud painted from life, and and gradually worked outward from usually spend a great deal of time that point. For a new sitter, he with each subject, demanding the often started with the head as a model's presence even while means of "getting to know" the working on the background of the person, then painted the rest of the portrait. A nude completed figure, eventually returning to the in 2007 required sixteen head as his comprehension of the months of work, with the model model deepened. A section of posing all but four evenings during canvas was intentionally left bare that time; with each session until the painting was finished.The averaging five hours, the painting finished painting is an accumulation took approximately 2,400 hours to of richly worked layers of pigment, complete. A rapport with his as well as months of intense models was necessary, observation. and while at work, Freud was
Later career because of its unusual shape, was Freud painted fellow artists, purchased by the National Gallery including Frank Auerbach and of Australia for $7.4 million. The Francis Bacon and produced a top left section of this painting has large number of portraits of the been 'grafted' on to the main performance artist Leigh Bowery, section below, and closer and also painted Henrietta inspection reveals a horizontal line Moraes, a muse to many Soho where these two sections were artists. A series of huge nude joined. portraits from the mid-1990s In 1996, the Abbot Hall Art Gallery depicted the very large Sue Tilley, in Kendal mounted a major or "Big Sue", some using her job exhibition of 27 paintings and title of "Benefits Supervisor" in the thirteen etchings, covering Freud's title of the painting, as in his 1995 output to date. The following year portrait Benefits Supervisor the Scottish National Gallery of Sleeping, which in May 2008 was Modern Art presented "Lucian sold by Christie's in New York for Freud: Early Works". The exhibition $33.6 million, setting a world comprised around 30 drawings and record auction price for a living paintings done between 1940 and artist. 1945.This was followed by a large Freud's most consistent model in retrospective at Tate Britain in his later years was his studio 2002. In 2001, Freud completed a assistant and friend David Dawson, portrait of Queen Elizabeth II. There the subject of his final, unfinished was criticism of the portrayal in work.Towards the end of his life he some sections of the British media. did a nude portrait of model Kate The Sun was particularly Moss. Freud was one of the best condemnatory, describing the known British artists working in a portrait as "a travesty". In 2005, a representational style, and was retrospective of Freud's work was shortlisted for the held at the Museo Correr in Venice Turner Prize in 1989 His painting After CĂŠzanne, notable
scheduled to coincide with the Biennale. In late 2007, a collection of etchings went on display at the Museum of Modern Art. Freud died in London on 20 July 2011 and is buried in Highgate Cemetery. Archbishop Rowan Williams officiated at the private funeral Art market In 2008, Benefits Supervisor Sleeping (1995), a portrait of civil servant Sue Tilley, sold for $33.6 million – the highest price ever at the time for a work by a living artist. On 13 October 2011, his 1952 Boy's Head, a small portrait of Charlie Lumley, his neighbour, reached $4,998,088 at Sotheby's London Contemporary art evening auction, making it one of the highlights of the 2011 auction autumn season. At a Christie's New York auction in 2015, Benefits Supervisor Resting sold for $56.2 million
Personal life Freud is rumoured to have fathered as many as forty children although this number is generally accepted as an exaggeration. Fourteen children have been identified, two from Freud's first marriage and 12 by various mistresses. After an affair with Lorna Garman, he went on to marry, in 1948, her niece Kathleen "Kitty" Epstein, daughter of sculptor Jacob Epstein
and socialite Kathleen Garman. They had two daughters, Annie and Annabel Freud, and the marriage ended in 1952.Kitty Freud, later known as Kitty Godley (after her marriage in 1955 to economist Wynne Godley), died in 2011. Freud then began to see Guinness heiress and writer Lady Caroline Blackwood. They married in 1953 but divorced in 1959
Guity Novin (born Guity Navran, 1944) is an Iranian-Canadian figurative painter, and graphic designer residing in Canada.She classifies her work as Transpressionism, a movement she has introduced. Her works are in private and public collections worldwide. She has served on a UNESCO national committee of artists
Early period 1970–1976 After graduating from the Faculty of Fine Arts with a BA in graphic design, Guity Novin was employed as a graphic designer in the Department of Graphic Arts at the Ministry of Culture and Arts (MCA) in Tehran, in 1970. However, as the first female graphic designer she immediately was confronted with various barriers and adversarial relationships. All the important posters were designed by the head of the department, who had at his disposal the services of many calligraphers, drawers, and other
designers. Guity responded by creating her own innovative posters outside the MCA and for the private sector. The young film makers of the Free Cinema of Iran, under the management of Basir Nasibi, commissioned her to design the cover of their first two books, as well as some of their posters. Pretty soon her posters and line drawings was reproduced on the cover of cultural magazines, such as Negin. She also began to design the cover of magazines like Zaman, and various literally periodicals such as Chaapar, and Daricheh.Fortunately for Guity, the late Hajir Darioush, a young new wave director of cinema, was assigned as the president of First International Film Festival of Tehran which was headquartered at the MCA. Noticing Guity's talent, Darioush invited her to join his team, and Guity produced the catalogs and posters of the festival.
15
European period, 1975–1980 In 1975 Novin moved to The Hague, the Netherlands, studied at Vrije Academie voor Beeldende Kunsten, and exhibited in 1975 at Noordeinde Gallery. She named ths exhibition Melodious Spheres. She moved to Manchester, England, in 1976, exhibited her "In Essence" show at Didsbury Library and was selected in 1979 for the E.C.A Exhibition at National Theatre, London. She also participated in several group exhibitions. Early Canadian period, Kingston, Ottawa, and Montreal, 1980-84 Guity Novin in her Studio at Kingston Ontario, 1981 In 1980 Guity settled in Kingston, Ontario. Her first exhibition in 1981 at the Brock Street Gallery in Kingston was called Lost Serenade. The Whig-Standard magazine, published her work "Flute Player" on the cover its October 3, 1981 issue, Ottawa period 1984–1997 Guity spent 1983 in Montreal, and then in 1984 she and her family relocated to Ottawa, where she worked and exhibited until 1997.
With a couple of her artist friends, including Raku potters Huc Wee and Adrianne Lamoreaux, Novin established the Artex Gallery at the Byward market in Ottawa where she painted and exhibited her works. At the same time, she started to produce graphic art drawings for the Breaking the Silence, a feminist periodical. Her illustrations were published in Le Carnaval de la licorne (2001),and her work Pears in Blue was published in Abnormal Psychology.[18] Chapters bookstore exhibited her works in their main bookstore in Ottawa in 1995, and she participated in the National Capital Fine Art Festival at Aberdeen Pavilion, Landsdown park in March 1996.
Ardabil
Sheikh Safi-od-Din Mausoleum
Ardabil Is an ancient city in Iranian Azerbaijan. Ardabil is the center of Ardabil Province. At the 2011 census, its population was 564,365, in 156,324 families, where the dominant majority are ethnic Iranian Azerbaijanis. Ardabil is known for its silk and carpet trade tradition. Ardabil rugs are renowned and the ancient Ardabil Carpets are considered some of the best of the classical Persian carpet creations. Ardabil is also known as the seat of a World Heritage Site: the Ardabil Shrine, the sanctuary and tomb of Shaikh Safî ad-Dîn, eponymous founder of the Safavid dynasty. History Shah Ismail The province is believed to be as old as the Achaemenid era (ca. 550–330 BCE). It is mentioned in the Avesta, where prophet Zoroaster was born by the river Aras and wrote his book in the Sabalan Mountains. During the Parthian era, the city had a special importance among the cities of Azarbaijan. Some Muslim historians
attribute the foundation of Ardabil to king Peroz I of the Sassanid Empire. The Persian poet Ferdowsi also credits the foundation of the city to Peroz I. Ardabil suffered some damages caused by occasional raids of Huns from the 4th to 6th century CE. Peroz repaired those damages and fortified the city. Peroz made Ardabil the residence of provincial governor of Azarbaijan. Due to its proximity to the Caucasus, Ardabil was always vulnerable to invasions and attacks by the mountain peoples of the Caucasus as well as by the steppe dwellers of South Russia past the mountains In 730-731, the Khazars managed to get past the Alan Gates, defeated and killed the Arab governor of Armenia named AlJarrah ibn Abdallah on the plain outside the town of Ardabil, and subsequently captured the town, as they continued their conquests. During the Islamic conquest of Iran, Ardabil was the largest city in north western Iran, ahead of Derbent,
19
and remained so until the Mongol invasion period. Ardabilis fought the Mongols three times; however the city fell after the third attempt by Mongols, who massacred the Ardabilis. Incursions of Mongols and subsequently the Georgians, who, under Tamar the Great, captured and sacked the city with some 12,000 citizens reputedly killed, devastated the city. The city however recovered and was in a more blossoming state than before, though by this time the principal city in the Azerbaijan region had become Tabriz, and under the later Ilkhanate, it had become Soltaniyeh. Safavid king Ismail I, born in Ardabil, started his campaign to nationalize Iran's government and land from there, but consequently announced Tabriz as his capital in 1501. Yet Ardabil remained an important city both politically and economically until modern times. During the frequent OttomanPersian Wars, being close to the borders, it was often sacked by the Ottomans between 1514 and 1722 as well as in 1915 during World War
I when the former invaded neighboring Iran. In the early Qajar period, crown prince Abbas Mirza, son of then incumbent king Fath Ali Shah Qajar (r. 1797–1834) was the governor of Ardabil. With Ardabil already once being sacked by the Russians during the RussoPersian War of 1804-1813, and this being the era of the Russians steadily advancing into the Iranian possessions in the Caucasus, Abbas Mirza ordered the Napoleonic general Gardane, who served the Qajars at the time, to strengthen and fortify the town with ramparts. During the next and final war, the Russo-Persian War of 1826-28, the ramparts were stormed by the Russian troops, who then temporarily occupied the town.The town's extensive and noted library, known as the library of Safi-ad-din Ardabili, was taken to St. Petersburg by General Ivan Paskevich on the feigned promise that it would be brought to the Russian capital in order to be kept safe until it could be returned; it was never returned.
After the Russo-Persian Wars, period. Its shape was described by Ardabil re-prospered. With the the historians of the 4th century CE town being only 40 kilometers as a cross, extending in four situated from the new Russodirections with simply designed Iranian border imposed on Iran by domes. Most sections of the bazaar the Treaty of Turkmenchay (1828) were constructed and renovated and the loss of its territories in the Caucasus, ArdabÄŤl became a moreso important stop on a caravan route during the Safavid and Zand which was a major link for the periods. importation of European goods Produce Bazar, Ardabil and vicinity from Russia into Iran.In This is the fresh produce bazaar on 1872, when Max von Thielmann the Meshkin Shahr gate in the city was in Ardabil, he noted in his of Ardabil. Vendors buy directly published book of 1875 the from farmers and distributors. extensive activity at the town's Shrine and the Ardabil carpets bazaar as well, as the presence of One of the main sights in the city of many foreigners in the town. He Ardabil in north-west Iran is the estimated its population at 20,000 shrine of Shaykh Safi al-Din During the early Iranian Ardabili, who died in 1334. The Constitutional Revolution, Ardabil Shaykh was a Sufi leader, who as well as the rest of Iranian trained his followers in Islamic Azerbaijan were occupied by the mystic practices. After his death, his Russians who stayed until the followers remained loyal to his eventual collapse of the Russian family, who became increasingly Empire in 1917. powerful. In 1501, one of his descendants, Shah Isma'il, seized political power. Bazaars He united Iran for the first time in Main article: Ardabil Bazaar several centuries and established In the heart of the Ardabil city, this the Shi'i form of Islam as the state bazaar stands as old as the Islamic religion.
Isma'il was the founder of the Safavid dynasty, named after Shaykh Safi al-Din. The Safavids, who ruled without a break until 1722, and then intermittently until 1757, promoted the shrine of the Shaykh as a place of pilgrimage
http://www.aziz_anzabi.com