02 Paintings, MIDDLE EASTERN ART, Juliana Séraphim's Untitled , with Footnotes , #59

Juliana Séraphim (1934 - 2005)

Untitled, c. 1978

Oil on canvas

89.5 by 106 cm. 35 1/4 by 45 3/4 in.

Private collection

Sold for 38,100 GBP in April 2023

Juliana Seraphim (born 1934 in Jaffa) is a Palestinian artist.

Seraphim was born in Jaffa in 1934, and was among the first waves of displaced Palestinian refugees to move to Beirut, Lebanon in 1952. She was 14 when her family fled first to Sidon by boat in 1949. After their move to Beirut, she worked in refugee relief while attending art classes.

Juliana Séraphim (1934 - 2005)

Untitled, c. 1980

Oil on canvas

88 x 116 cm

Dalloul Art Foundation

Untitled, 1980, represents a fantastical cityscape featuring mysterious mermaid-like female forms and an overarching giant eye located in the center of the upper half of the composition. The eyelids are painted in flamingo pink, while the eyelashes are tinted olive green with smooth, broad brushstrokes. The towering eye looks over the entire city and its dwellers. Its pupil emits a beam of translucent white light that hones in on a female form dressed in an ornate armor-like cape and a seashell-like crown. The female seems to melt into an eel-like creature painted in olive green. We see a giant seashell beside her, floating in still waters, rendered in petroleum blue. More on this painting

In Beirut, Juliana Séraphim developed her personal style and produced her most notable works. She privately studied with Lebanese painter Jean Khalifeh (1923–78).  After studying at the Lebanese Fine Arts Academy and privately with other local contemporary artists, she began to show her work in solo exhibitions and gained recognition within Beirut. In her studies, she was awarded grants to study abroad in Madrid, Florence, and Spain. She then went on to internationally represent Lebanon in three biennials.

The images in my paintings come from deep within me: they are surreal and unexplainable. Consciously I want to portray a woman's world and how important love is to a woman. Few men understand the quality of love that a woman seeks. I try to show them. (Juliana Seraphim quoted in H. Khal, The woman artist in Lebanon, Beirut University College 1987, p. 71).

Whereas her Lebanese contemporaries often take on a figurative style in order to demonstrate the central issues of the Palestinian struggle, Seraphim’s visual language is characterized as having complex layers of overlapping lines and improvisational dream-like imagery. In this way, Seraphim cultivates a shifting reality of infinite depth and creation. Her dream-like imagery also implies the unsteady nature of a long-held memory of a cherished place - and in doing so she transcribes her political concerns regarding her home through the lens of personal and surreal imagery while also encouraging the viewer to actively participate with the imagery presented. When asked, Seraphim cites the source of her surrealist imagery as memories of her childhood. She drew specific inspiration from the faded frescoes of winged beings on the ceiling of her grandfather's home, and former convent, in Jerusalem. More on Juliana Seraphim

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02 Paintings, MIDDLE EASTERN ART, Anna Boghiguian's Zar, with Footnotes, #62

Anna Boghiguian (b. 1946)

Zar, c. 1999

Mixed media (watercolour, crayon, marker on paper)

sheet: 40.5 by 59.5 cm.; 16 by 23 1/2 in.

Private collection

Estimated for 4,000 - 6,000 GBP in Apr 2023

In the cultures of the Horn of Africa and adjacent regions of the Middle East, Zār is the term for a demon or spirit assumed to possess individuals, mostly women, and to cause discomfort or illness. The so-called zār ritual or zār cult is the practice of exorcising such spirits from the possessed individual.

Anna Boghiguian (b. 1946)

Zar Near Qait Bay, c. 1999

Mixed media on paper

41.5 by 59.3 cm. 16 1/4 by 23 1/2 in.

Private collection

Estimated for 4,000 - 6,000 GBP in Apr 2023

Zār exorcism has become popular in the contemporary urban culture of Cairo and other major cities of the Islamic world as a form of women-only entertainment. Zār gatherings involve food and musical performances and they culminate in ecstatic dancing, lasting between three and seven nights. The tanbūra, a six-string bowl lyre,[3] is often used in the ritual.[4] Other instruments include the manjur, a leather belt sewn with many goat hooves, and various percussion instruments. More on Zar

Qaitbay Citadel In Alexandria was built in the 15th century, Qaitbay Citadel is located in the far north of the entrance to the eastern harbor, at the same place where the ancient Lighthouse of Alexandria lay.

Anna Boghiguian, B. 1947, EGYPTIAN. Born in Cairo, Anna Boghiguian studied art and music at the Concordia University in Montreal and political science and economics at the American University in Cairo. Throughout her travels the artist developed an intimate visual diary, drawing and colouring her surroundings assimilated with text, poetry and sketches. Every image is marked with a different kind of dynamic, often spontaneous.

Anna Boghiguian has been widely exhibited in renowned institutions throughout the world since the late 1980s. Her works can be found in the permanent collections of Neue Galerie, Kassel, Germany; Institut du Monde Arabe Paris, France; Guggenheim Abu Dhabi, UAE; Kadist Art Foundation, Paris, France and Musée Carre d'Art, Nîmes, France. More on Anna Boghiguian

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01 Painting, MIDDLE EASTERN ART, Hayv Kahraman's The Kawliya Dance, with Footnotes , #60

Hayv Kahraman (Iraqi, b. 1981)

The Kawliya Dance, c. 2013

Oil on panel

47 2/3 x 96 3/8 in. (121 x 245cm.)

Private collection

Sold for GBP 118,750 in 2018

Dance of El Kawliya is a dance of improvisation. The movements are full of power, earthiness, passion and a zest for life. Iraqi Gypsy dancers have kept their traditional dances alive by maintaining their simple lifestyle and by not allowing modern elements from ballet or from any other modern dance direction to slip in. It belongs to the Shaabi Repertoires of the Iraqi Dance. More on The Kawliya Dance

Hayv Kahraman is an Iraqi artist born in 1981. At the age of 11, her family left Baghdad during the Gulf War and settled in Sweden for several years, where her status of refugee became a catalytic experience for her artistic practice. Having studied graphic design at the Accademia di Arte e Design di Firenze, Italy, Kahraman uses a variety of media including sculpture, drawing and painting to address difficult issues relative to gender inequalities, war and the migrant experience. Channeling refined aesthetics inspired from Islamic arts, Art Nouveau and Japanese paintings to confront the viewer with controversial scenes, the artist engages with the notion of femininity in Middle Eastern cultures. Her approach to gender roles and female identity encapsulates how women are persecuted in their own culture through systematic submission to the male gaze, physicality and politics. More on Hayv Kahraman

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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02 Paintings, Middle East Artists, Hayv Kahraman's Persian Couple 1 & 2, with Footnotes, #64

Hayv Kahraman

Persian Couple 2

Oil on linen

106.7 by 172.7 cm. 42 by 68 in.

Private collection

Sold for 68,750 USD in Nov 2015

The present painting brings attention to the emotional state of the female character, echoed by the tones and the tamed senses of depth and motion depicted in the work. The juxtaposed painted patterns mimicking bedsheets over the naked bodies create a deep sense of contrast with the bare canvas around the faces of the characters. In this manner, Kahraman not only creates a graphic sense of spatial illusion, but also forces the viewer to interpret the violence of the scene through the repressed expressions of the protagonists rather than the raw confrontation of their bodies. The sharp shapes and dim colours combined with a near-absence of light and movement convey a poignant feeling of numbness and resignation. Despite the jarring implications of this scene, the painting is infused with an aura of femininity and softness – a system of representation characteristic of Kahraman’s practice, subverting conventional portrayals of violence and oppression to challenge the common perception of the role occupied by women in the Middle East. Fundamental to that purpose is the use of traditional Middle Eastern garments and tessellated patterns. By means of combining complex, wounded realities with her astonishing technical virtuosity, Hayv Kahraman has shaped modern ideas of feminism and decolonisation into accessible and seductive fairy-tale imagery with astonishing power and impact. More on this painting

Hayv Kahraman, American/Iraqi, born 1981

Persian Couple 1, c. 2009

68 x 42 in. (172.7 x 106.7 cm.)

Private collection

Hayv Kahraman is an Iraqi artist born in 1981. At the age of 11, her family left Baghdad during the Gulf War and settled in Sweden for several years, where her status of refugee became a catalytic experience for her artistic practice. Having studied graphic design at the Accademia di Arte e Design di Firenze, Italy, Kahraman uses a variety of media including sculpture, drawing and painting to address difficult issues relative to gender inequalities, war and the migrant experience. Channeling refined aesthetics inspired from Islamic arts, Art Nouveau and Japanese paintings to confront the viewer with controversial scenes, the artist engages with the notion of femininity in Middle Eastern cultures. Her approach to gender roles and female identity encapsulates how women are persecuted in their own culture through systematic submission to the male gaze, physicality and politics. More on Hayv Kahraman

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 and 365 Days, also visit my Boards on Pinterest

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01 Painting, MIDDLE EASTERN ART, Tarek Al-Ghoussein's D Series Untitled 9 , with Footnotes , #58

Tarek Al-Ghoussein (Palestine, born 1962 )

D Series Untitled 9 

Digitl inkjet print
100cm x 150cm (39 3/8 x 59 1/16in)
Private collection

Sold for £5,625 in Apr 2015

'It's about looking at a space - how one relates to a space and how that space defines a person too,' says Palestinian-Kuwaiti artist, photographer and academic, Tarek al Ghoussain. 

Long considered amongst the most progressive and engaged photographers at work in the Middle East today, al Ghossein's intellectually-engaged and visually powerful imagery addresses the duality of his ethnic identity as the son of displaced Palestinians, growing up in the Gulf.

Much of al Ghossein's work deals with the intangibility of his Palestinian heritage. Placing the notion of a state, real in a collective consciousness yet ethereal in the world, he places himself in his works which becomes documentary artifacts of his active performances. More on this work

Tarek Al-Ghoussein was born in Kuwait, his grandparents were Palestinian exiles who were unable to visit their native home. His father, Talat Al-Ghoussein, was a journalist, editor and a diplomat who served as the Kuwait ambassador to the United States in the 1960s. His family moved a lot during his childhood between Kuwait, United States, Morocco and Japan. He received his bachelor's degree in photography from New York University and completed his master's degree in Fine Arts from University of New Mexico. He held several positions during his career, worked as a photojournalist, taught photography at the American University of Sharjah and is currently a professor at New York University branch in Abu Dhabi. More on Tarek al Ghoussain

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

After Jan Saudek

Silent Witness 1

AI Generated

1024 × 1024

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

AI Generated

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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

AI Generated

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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

AI Generated

1024 × 1024

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

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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

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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

1024 × 1024

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

1024 × 1024

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.

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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

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