07 works, Middle East Artists, The Art of War, Jan Saudek's Silent witness, with Footnotes #104

After Jan Saudek

Silent Witness 1

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deviantart

As the angel passed through the destroyed city she bore witness to the inhumanity of man towards his brother and felt a great heaviness in her heart. The once vibrant streets, now shrouded in ash and sorrow, echoed with the remnants of laughter that had been silenced by greed and hate. Crumbling buildings, like sentinels of despair, stood as testament to dreams shattered and lives lost.

After Jan Saudek

Silent Witness 2

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deviantart

She saw mothers clutching their children, eyes wide with terror, seeking refuge in the debris strewn by conflicts they never chose. Brothers lay in the rubble, divided not by blood but by ideology, their final breaths spent in a struggle that seemed both futile and profound. She witnessed the empty gaze of a child, bereft of innocence, holding onto a tattered toy—the last remnant of a life that once was.

After Jan Saudek

Silent Witness 3

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deviantart

With each step, the angel felt the weight of sorrow bearing down on her wings, a reminder of the fragility of humanity. She wept for those who had turned their backs on compassion, for the hearts hardened by a thirst for power and control. Her luminous presence seemed at odds with the darkness surrounding her, an embodiment of hope in a world seemingly bereft of it.

After Jan Saudek

Silent Witness 4

AI Generated

nightcafe

After Jan Saudek

Silent Witness 5

AI Generated

nightcafe

After Jan Saudek

Silent Witness 6

AI Generated

nightcafe

In the shadows, a flicker of light emerged—a small group of survivors, helping one another, sharing what little they had. They gathered around a meager fire, their faces etched with resilience. They spoke not of vengeance but of rebuilding, a tapestry of humanity woven together despite the struggle.

After Jan Saudek

Silent Witness 7

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playground

The angel paused, her heart swelling at this glimmer of hope. She descended gently, her presence enveloping the group in a warm embrace. "Even in your darkest hour, remember love is still within you," she said softly. "It will guide you through the trials ahead. For it is in unity that strength is found."

Jan Saudek (born 13 May 1935 in Prague, Czechoslovakia) is a Czech art photographer and painter. 

According to Saudeks's biography, he got his first camera, a Kodak Baby Brownie, in 1950. He apprenticed to a photographer and in 1952 started working as a print shop worker, where he worked until 1983. In 1959, he started painting and drawing. After completing his military service, he was inspired in 1963 by the catalogue for Edward Steichen's The Family of Man exhibition, to try to become a serious art photographer. In 1969, he traveled to the United States and was encouraged in his work by curator Hugh Edwards.

Returning to Prague, he was forced to work in a clandestine manner in a cellar, to avoid the attentions of the secret police, as his work turned to themes of personal erotic freedom, and used implicitly political symbols of corruption and innocence. From the late 1970s, he became recognized in the West as the leading Czech photographer. In 1983, the first book of his work was published in the English-speaking world. The same year, he became a freelance photographer as the Czech Communist authorities allowed him to cease working in the print shop, and gave him permission to apply for a permit to work as an artist. More Jan Saudek

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01 painting, Middle East Artists, The Art of War, Suleiman Mansour's Gaza, with Footnotes #103

Suleiman Mansour

Gaza, c. 2014

Oil on canvas

33 3/8 x 44 3/8 in. (85 x 113cm.)

Private collection

Sold for USD 43,750 on Mar 2019

Suleiman Mansour, together with Ismail Shammout are one of the two most important Palestinian artists who created a national identity for Palestinians over the years. Since the early 1970s, Mansour has been a champion and pioneer of the Palestinian artistic movement that has continuously pushed against the challenges and burdens that the community has faced. Inviting the viewer to feel the burden and struggle of the heavy weight of Palestinian history, the painting signifies a bleak future that has become something to fear, depicting the agony of the people since the loss of their land. More on this painting

Sliman Mansour ( born 1947), is a Palestinian painter, considered an important figure among contemporary Palestinian artists. Mansour is considered an artist of intifada whose work captures to the cultural concept of sumud. Palestinian artist and scholar Samia Halaby has identified Mansour as part of the Liberation Art Movement and cites his important work as an artist and cultural practitioner before and after the Intifada.

During the Intifada, Mansour was part of the "New Visions" group of Palestinian artists that included Tayseer Barakat, Vera Tamari, and Nabil Anani. This collective turned to earthworks and mixed media and assemblage using materials derived from the Palestinian environment in order to boycott Israeli art supplies in protest of the ongoing occupation. In 1988 he made a series of four paintings on destroyed Palestinian villages, the four villages being Yibna, Yalo, Imwas and Bayt Dajan.

He is a co-author of Both Sides of Peace: Israeli and Palestinian Political Poster Art, published in 1998 by the Contemporary Art Museum with University of Washington Press. More on Sliman Mansour

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and my art stores at  deviantart and Aaroko

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04 Works, Middle East Artists, THE ART OF WAR, Battle maidens of the Sands, with Footnotes #87

Battle maidens of the Sands

AI Generated

1024 × 1024

Available at deviantart

The Battle Maidens of the Sands are a legendary group of fierce warriors known for their strength, speed, and mastery of combat. They are said to be guardians of the desert, defending the innocent and punishing those who seek to cause harm.

These Battle Maidens are skilled in various forms of weaponry, from scimitars and bows to spears and throwing knives. They train rigorously, honing their skills and building their physical endurance to become unstoppable in battle.

Battle maidens of the Sands

AI Generated

1024 × 1024

Available at deviantart

Their attire is a mixture of practicality and tradition - flowing robes and scarves to protect them from the harsh desert winds, and light armor to provide both protection and ease of movement. Their faces are often partially covered, revealing only their piercing eyes, which radiate determination and strength.

The Battle Maidens are known to operate in small, agile teams, working together with seamless coordination. They can strike with lightning speed and precision, overwhelming their enemies with a flurry of attacks before disappearing into the sands.

Battle maidens of the Sands

AI Generated

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Available at deviantart

Their knowledge of the desert terrain is unparalleled, allowing them to navigate the treacherous dunes with ease. They can disappear in the vastness of the desert, making them elusive and difficult to track.

However, they are not just warriors; they are also skilled healers and guardians of their people. They possess an intimate understanding of the desert's secrets, including its unique flora and fauna, and its hidden oases.

Battle maidens of the Sands

AI Generated

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Available at deviantart

Legends tell of their feats of bravery and heroism, from defending caravans from bandit attacks to facing off against powerful sorcerers and monstrous creatures. Their courage and unwavering loyalty to their people have earned them admiration and respect throughout the desert lands.

The Battle Maidens of the Sands are a force to be reckoned with, embodying the spirit and resilience of the desert itself. Their skills, bravery, and unwavering determination make them both fearsome adversaries and inspiring allies.

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

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01 Work, Middle East Artists, THE ART OF WAR, The Pre-Raphaelite's Bravery on the Battlefield, with Footnotes #86

After the Pre-Raphaelite

Bravery on the Battlefield

AI Generated

4096 × 4096

Available at deviantart

As Alma lay there, her thoughts drifted back to the events that had unfolded. She had been leading her tribe, defending their land from invaders who sought to claim their resources. The battle had raged on for days, leaving casualties scattered across the sandy terrain. With every swing of her scimitar, she had fought valiantly to protect her people.

But the enemy proved to be relentless, outnumbering her tribe and pushing them further onto the defensive. In the midst of the chaos, Alma had sustained deep wounds, yet she refused to yield. Her spirit burned fiercely, refusing to be extinguished by mere bloodshed.

A soft breeze wafted through the battlefield, carrying with it the scent of desert sand and the distant hum of prayer. The sound brought a faint smile to Aisha's dirt-streaked face. She knew that even in this grim moment, her faith would guide her through. With the remnants of her strength, she closed her eyes and uttered a prayer to the heavens, seeking solace and divine intervention.

In the distance, she heard the sound of shifting sand and the murmur of voices growing nearer. Opening her eyes, she saw a group of her fellow warriors approaching. Relief washed over her, for she knew she would not fight alone. They had come to her aid, their loyalty and camaraderie unwavering.

And as her journey continued, Alma vowed to carry the memory of this battlefield, the blood-stained armor, and the strength of her people with her. For in the face of adversity, she had learned that true beauty lies not only in the art of the world but within the resilience of the human spirit

The Pre-Raphaelites were a group of English painters, poets, and art critics, founded in 1848 by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner who formed a seven-member "Brotherhood" partly modelled on the Nazarene movement. The Brotherhood was only ever a loose association and their principles were shared by other artists of the time, including Ford Madox Brown, Arthur Hughes and Marie Spartali Stillman. Later followers of the principles of the Brotherhood included Edward Burne-Jones, William Morris and John William Waterhouse. More on the Pre-Raphaelite

Alma was by far the most distinguished of women because of her many superior qualities, especially because of the bravery she demonstrated in defense of her people.

Islam elevated the status of women, treating them on an equal footing with a man. Women had a newfound independent identity, in the physical and spiritual spheres.

Islamic history is full of warrior women who fiercely fought for what they believed in, defended what they cherished, and defied all expectations and became legends.

The Warrior Woman is an ancient archetype that is not well known because the stories have been both forgotten and suppressed. Mythology is full of warrior goddesses.

Traditionally, the Bedouin were among the most dangerous of desert tribes, fighting among themselves when outsiders weren’t available. Constantly on the move to find new pastures for their livestock, they learned to live with the minimum of possessions and little external support in the harshest of lands. Loyalty to tribe and family was all that helped a warrior survive. More on Desert Warriors

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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02 Works, Middle East Artists, THE ART OF WAR, Anselm Feuerbach and Leonardo da Vinci's Battle maidens of the Sands, with Footnotes #85

After Leonardo da Vinci

Battle maidens of the Sands

AI Generated

freepik

Leonardo da Vinci captures a scene of intense battle and fierce determination. Set in an arid battlefield, Bedouin warrior women stand at the forefront. Their bodies adorned in intricately oriental armor, they exude both strength and elegance.

As the women take aim, their gazes focused and unwavering, they release their spears towards the enemy. The composition captures the very essence of war, with dust swirling in the air, lending an air of turmoil and chaos to the scene. The women's movements are frozen in time, showcasing their expertise as archers and their deadly accuracy in hitting their intended targets.

After Anselm Feuerbach

Battle maidens of the Sands

AI Generated

playground

This painting is rendered in stunning ultra-high resolution 8k, allowing for an incredible level of detail and realism. The aspect ratio of 7:4 adds a cinematic quality to the artwork, enhancing the dramatic impact. Every brushstroke and subtlety in lighting is meticulously executed, resulting in a photorealistic style that brings the scene to life.

"Battle maidens of the Sands" perfectly captures the spirit of powerful, fierce women in the midst of conflict, drawing inspiration from the mastery of Leonardo da Vinci while showcasing the artist's own skill and vision.

Leonardo da Vinci, (born April 15, 1452, Anchiano, near Vinci, Republic of Florence — died May 2, 1519, Cloux, France), Italian painter, draftsman, sculptor, architect, and engineer whose genius, perhaps more than that of any other figure, epitomized the Renaissance humanist ideal. His Last Supper (1495–98) and Mona Lisa (c. 1503–19) are among the most widely popular and influential paintings of the Renaissance. His notebooks reveal a spirit of scientific inquiry and a mechanical inventiveness that were centuries ahead of their time.

The unique fame that Leonardo enjoyed in his lifetime and that, filtered by historical criticism, has remained undimmed to the present day rests largely on his unlimited desire for knowledge, which guided all his thinking and behaviour. An artist by disposition and endowment, he considered his eyes to be his main avenue to knowledge; to Leonardo, sight was man’s highest sense because it alone conveyed the facts of experience immediately, correctly, and with certainty. Hence, every phenomenon perceived became an object of knowledge, and knowing how to see became the great theme of his studies. He applied his creativity to every realm in which graphic representation is used: he was a painter, sculptor, architect, and engineer. But he went even beyond that. He used his superb intellect, unusual powers of observation, and mastery of the art of drawing to study nature itself, a line of inquiry that allowed his dual pursuits of art and science to flourish. More Leonardo da Vinci

Anselm Feuerbach,  (born September 12, 1829 - died January 4, 1880, Venice, Italy), one of the leading German painters of the mid-19th century working in a Romantic style of Classicism.

Feuerbach was the son of a classical archaeologist and the nephew of the philosopher Ludwig Feuerbach. After studying art at the Düsseldorf Academy and in Munich, he went twice to Paris, where he worked in the studio of Thomas Couture and was influenced by Gustave Courbet and Eugène Delacroix.

Feuerbach lived in Italy from 1855 to 1873, and much of his best work was produced during this period. He was influenced by antique Greek and Roman art and Italian High Renaissance painting, and he developed an interest in idealized figure compositions of a lyrical, elegiac nature. 

In 1873 Feuerbach became a professor at the Vienna Academy of Fine Arts and painted for the academy building Fall of the Titans, generally regarded as his weakest work. Ill and discouraged by the harsh criticism of this work, Feuerbach left Vienna in 1876 and returned to Italy, where he died. More on Anselm Feuerbach

Alma was by far the most distinguished of women because of her many superior qualities, especially because of the bravery she demonstrated in defense of her people.

Islam elevated the status of women, treating them on an equal footing with a man. Women had a newfound independent identity, in the physical and spiritual spheres.

Islamic history is full of warrior women who fiercely fought for what they believed in, defended what they cherished, and defied all expectations and became legends.

The Warrior Woman is an ancient archetype that is not well known because the stories have been both forgotten and suppressed. Mythology is full of warrior goddesses.

Traditionally, the Bedouin were among the most dangerous of desert tribes, fighting among themselves when outsiders weren’t available. Constantly on the move to find new pastures for their livestock, they learned to live with the minimum of possessions and little external support in the harshest of lands. Loyalty to tribe and family was all that helped a warrior survive. More on Desert Warriors

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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Thank you for visiting my blog and also for liking its posts and pages.

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01 Work, Middle East Artists, THE ART OF WAR, Henry Zaidan's Mother and Child, with Footnotes #83

Henry Zaidan

Mother and Child

AI Created

neural.love

Mother and child riding a donkey, their eyes fixed on the path ahead. They are following the footsteps of the father, who tirelessly led the way through the desolate surroundings, searching for a safe place to pitch their tent amidst the horrors of war that surrounded them.

The once lively village they called home had been reduced to ruins, its buildings demolished and its streets left in disarray. The echoes of violence still reverberated in the air, a constant reminder of the destruction that had taken place. But the family pressed on, driven by an unwavering determination to find a semblance of normalcy in this war-torn landscape.

The mother's heart ached as she held her child tightly, shielding them from the harsh reality that lay before them. She whispered comforting words, assuring them that everything would be alright, even though she herself couldn't predict what the future held. The child clung onto their mother, their innocent eyes filled with confusion and fear.

Navigating through rubble-strewn streets, they passed remnants of what used to be homes, now reduced to mere shells of their former selves. The haunting imagery of shattered windows and crumbled walls served as constant reminders of the lives that were disrupted, torn apart by the chaos of war. Yet, hope continued to flicker within their weary hearts, pushing them forward.

Hours turned into days as they trekked on, the donkey trudging through the barren landscape. Finally, a small clearing emerged, a patch of grass among the debris. It was far from perfect, but it offered a glimmer of relief from the surrounding chaos. The family dismounted the donkey, their tired bodies grateful for a moment's respite.

Together, they laboriously pitched their worn tent, its fabric weathered and torn, but still providing a shelter from the elements. The mother spread a threadbare blanket on the ground, creating a semblance of comfort for her child. It was a meager refuge amidst the vast devastation, but for now, it would have to do.

As the night fell, the family huddled together, finding solace in each other's presence. They closed their eyes, their hearts heavy with the weight of uncertainty, but also filled with determination and resilience. In their unity, they clung to the hope that one day, the wounds of war would heal, and they could rebuild their lives.

Through the darkness and destruction, this mother and child found strength in their love for one another. Together, they would endure the hardships of war, seeking a brighter future amidst the surrounding devastation.

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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03 Works, Middle East Artists, THE ART OF WAR, Cristofano Allori and Anselm Feuerbach's Sisters, with Footnotes #84

After Anselm Feuerbach

Sisters

AI Generated

freepik

Executed in the style of Anselm Feuerbach, the viewer is transported to a battlefield engulfed in chaos, dust, and destruction. The focal point of the painting are two remarkable Bedouin sisters as they stand defiantly in a vast open field.

The composition is dynamically balanced, with the sisters positioned at the forefront, their bodies twisted in mid-action as they skillfully draw back their bows, ready to release a volley of deadly arrows towards the enemy. Their expressions, a mix of determination and fierce resolve, further emphasize their status as warriors reaping havoc upon their foes.

After Cristofano Allori

Sisters

AI Generated

Available at deviantart

Feuerbach's brushwork adds depth and texture to the scene, capturing the turmoil of war and the swirling dust that envelops the battlefield. Shades of earthy tones dominate the landscape, reflecting both the arid terrain and the somber atmosphere. 

Despite the turmoil, there is an undeniable beauty conveyed through the representation of these warrior women. Their elegant, garments pay homage to their heritage and evoke a sense of both tradition and pride.

After Cristofano Allori

Sisters

AI Generated

Available at deviantart

Anselm Feuerbach,  (born September 12, 1829 - died January 4, 1880, Venice, Italy), one of the leading German painters of the mid-19th century working in a Romantic style of Classicism.

Feuerbach was the son of a classical archaeologist and the nephew of the philosopher Ludwig Feuerbach. After studying art at the Düsseldorf Academy and in Munich, he went twice to Paris, where he worked in the studio of Thomas Couture and was influenced by Gustave Courbet and Eugène Delacroix.

Feuerbach lived in Italy from 1855 to 1873, and much of his best work was produced during this period. He was influenced by antique Greek and Roman art and Italian High Renaissance painting, and he developed an interest in idealized figure compositions of a lyrical, elegiac nature. 

In 1873 Feuerbach became a professor at the Vienna Academy of Fine Arts and painted for the academy building Fall of the Titans, generally regarded as his weakest work. Ill and discouraged by the harsh criticism of this work, Feuerbach left Vienna in 1876 and returned to Italy, where he died. More on Anselm Feuerbach

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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01 Work, Middle East Artists, THE ART OF WAR, 17th-century Italian Old Master's Captive, with Footnotes #83

After; 17th-century Italian Old Master

Detail; Captive

Ai Generated

freepik

After; 17th-century Italian Old Master

Captive

Ai Generated

freepik

Alma, adorned in a torn and ragged wrap around her waist. She is shown chained to a weathered column in a dimly lit dungeon, creating a sense of vulnerability and captivity.

The ground is scattered with rubble, symbolizing the destruction and decay surrounding Alma in her dire situation.

In the background, a shard of a wall is depicted, which remains from the once majestic building, alluding to the ravages of war and the loss of cultural heritage. This scene acts as a poignant backdrop, evoking a sense of melancholy and the passage of time.

Together, these elements come together to create a thought-provoking oil painting that captures the essence of the 17th-century Italian Old Master style while showcasing the beauty, strength, and vulnerability of the Arab warrior woman, Alma.

Alma was by far the most distinguished of women because of her many superior qualities, especially because of the bravery she demonstrated in defense of her people.

Islam elevated the status of women, treating them on an equal footing with a man. Women had a newfound independent identity, in the physical and spiritual spheres.

Islamic history is full of warrior women who fiercely fought for what they believed in, defended what they cherished, and defied all expectations and became legends.

The Warrior Woman is an ancient archetype that is not well known because the stories have been both forgotten and suppressed. Mythology is full of warrior goddesses.

Traditionally, the Bedouin were among the most dangerous of desert tribes, fighting among themselves when outsiders weren’t available. Constantly on the move to find new pastures for their livestock, they learned to live with the minimum of possessions and little external support in the harshest of lands. Loyalty to tribe and family was all that helped a warrior survive. More on Desert Warriors

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

01 Work, Middle East Artists, THE ART OF WAR, Ismail Shammout's Memories and a Firebrand, with Footnotes #82

Ismail Shammout

Memories and a Firebrand, c. 1956
Fine Art Digital Print

40 x 29.5 cm 

Private collection

Shammout always made it a point to never cease depicting the Palestinian exodus in his work. Living under harsh conditions and haunting experiences, as a child he was forced to flee from his home during the Nakba of 1948 and traveled on foot to settle in a refugee camp. He documented that march of death, exhaustion, and thirst in several paintings executed in the 1950s. In his works, the struggle of living under occupation is highlighted with forlorn figures resting in darkness or clinging to one another while they journey across barren land. His own memories of displacement and death are infused with his paintings, depicting the struggle of Palestinians with dark shadows that speak of loss, and children who sit alone in contemplation. Shammout’s works can be regarded as iconic for the Palestinian people. It visually symbolized the very struggles and experiences living under occupation, showcasing not only the memories he carried but for those who are currently living under it to this day. More on this work

Ismail Shammout (1930 – 2006) was a Palestinian artist and art historian.

Shammout was born in 1930 in Lydda. On July 12, 1948, he and his family were amongst 25,000 residents of Lydda expelled from their homes by Israeli occupation. The Shammout family moved to the Gaza refugee camp of Khan-Younes. In 1950 Shammout went to Cairo and enrolled in the College of Fine Arts. After returning to Gaza in 1953, he held his first exhibition, which was a success.

Shammout and Palestinian artist Tamam al Akhal participated in the Palestine Exhibition of 1954 in Cairo. The exhibition was inaugurated by then Egyptian President Gamal Abdul Nasser. Later in 1954, he moved to Italy and enrolled at the Academia De Belle Arti in Rome. He married al Akhal in 1959. Their work has been exhibited in several countries.

Shammout became a part of the Palestine Liberation Organization (PLO) as the Director of Arts and National Culture in 1965. He also held the position of Secretary General of the Union of Palestinian Artists. He became Secretary General of the Union of Arab artists in 1969. In 1992 he and his wife, al Akhal, moved to Germany due to the Gulf War. After Germany, they settled in Jordan.

He and Al Akhal, returned to Lydda in 1997.

He died on July 1, 2006, at the age of seventy-six. More on Ismail Shammout

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.