01 Painting, Middle East Artists, with Footnotes, #26

Mohammad Sadiq

A LADY AT LEISURE,  CIRCA 1770-1780

Oil on canvas

4ft.1in. x 2ft.9in. (125.5 x 84cm.)

Private collection

A young lady sits, wearing floral skirt, a sheer shirt, jewels around her neck and flowers in her hair, leaning against a floral bolster cushion, a tray of fruit before her and a bottle and glass in her hands, behind her a servant stands behind a geometric balustrade, a porcelain dish in her hands. More on this work

Mohammad Sadiq was a noted artist from 18th century Iran. He was a painter at the court of the Zand ruler Karim Khan. After Karim Khan's death, he worked for the Qajar ruler Agha Mohammad Khan Qajar. More on Mohammad Sadiq

Muhammad Sadiq was the leading painter of his generation. A pupil of Muhammad 'Ali Ashraf, Sadiq worked on the St Petersburg Muraqqa in Isfahan. After its completion, he was appointed to create two large scale paintings for the pavilion in Shiraz, a building which today serves as the Pars museum. A skilled fresco painter, his involvement in the interior decoration of the Shiraz pavilion led to a distinctive development in his compositions, whereby he started to create works which were inserted into architectural niches in buildings. The generation of court artists prior to him such as Muhammad Zaman and 'Ali Quli Jubbadar had been hugely influenced by European art, frequently copying European subjects directly. Sadiq rejected this, developing a distinctive Persian method of painting: warm hues, heavy modelling of features, the inclusion of fruit, flowers and glassware; all features of his iconic style which shaped the works of subsequent court artists and was particularly popular within the Qajar court.. More on Mohammad Sadiq

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01 Painting, Middle East Artists, Mahmoud Said's Eid al-Adha, with Footnotes #25

Mahmoud Said, 1897-1964, Egyptian

Eid al-Adha, c. 1917

Oil on board

14 by 24cm.; 5½ by 9½in.

Private collection

Eid al-Adha, Muslim festival, marks the culmination of the hajj (pilgrimage) rites at Minā, Saudi Arabia. Eid al-Adha is distinguished by the performance of communal prayer at daybreak on its first day. It begins on the 10th of Dhū al-Ḥijjah, the last month of the Islamic calendar, and continues for an additional three days. During the festival, families that can afford to sacrifice a ritually acceptable animal (sheep, goat, camel, or cow) do so and then divide the flesh equally among themselves, the poor, and friends and neighbours. Eid al-Adha is also a time for visiting with friends and family and for exchanging gifts. This festival commemorates the ransom with a ram of the biblical patriarch Ibrāhīm’s (Abraham’s) son Ismāʿīl (Ishmael)—rather than Isaac, as in Judeo-Christian tradition. More on Eid al-Adha

Mahmoud Said, 1897-1964, EGYPTIAN. Born into a wealthy Alexandrian family, Mahmoud Said first studied jurisprudence at the French School of Law in Cairo in the 1910s. During his studies, he became interested in painting, and joined the studios of Italian painters Amelia Casonato da Forno and Arturo Zanieri, before travelling to France to study in Paris, briefly at the Académie Julian. Though he worked for almost thirty years as a lawyer and then a judge, he continued to paint in his free time until he quit law in the late 1940s and devoted himself to art completely. He is considered the foremost painter of the ‘Pioneer’ generation of Egyptian artists, renowned for his bold, richly coloured portraits, nudes, and landscapes. He painted continuously until his death in 1964.

 Said’s works are housed in private and public collections including Mathaf: Arab Museum of Modern Art, Doha; Museum of Modern Egyptian Art, Cairo; Mahmoud Said Museum, Alexandria, and Ministry of Culture, Egypt. More on Mahmoud Said

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

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01 Painting, Middle East Artists, with Footnotes, #24

Suleiman Mansour, (Palestinian, b. 1947)

Jamal Al Mahamel III (The Camel/Carrier of Hardships III), c. 2005

Acrylic on canvas

59 7/8 x 39in. (152 x 99cm.)

Private collection

Born in 1947, Birzeit, Palestine, Sliman Mansour studied fine art at the Bezalel Art Academy in Jerusalem. He has held solo exhibitions in Ramallah, New York, Sharjah, Cairo, Gaza and Stavanger, Norway. His group exhibitions include Museum of Oriental Art, Moscow (1980), Palestinian Spring, Al-Hakawati Theatre, Jerusalem, 1985; New Visions, Jordan National Gallery of Fine Arts, Amman, 1991; Made in Palestine, Station Museum of Contemporary Art, Houston, Texas, 2003; and Contemporary Graphic Art in the Arab World, Nabad Gallery, Amman, 2010. In 1998 he received the Palestine Prize for the Visual Arts at the Cairo Biennial. Sliman Mansour draws inspiration from the subject of the olive tree, and has focused on the theme of ‘land’ since 1970. His recent work is centred on the individual figure to convey the ‘different states of exhausting anticipation or loss,’ resulting from his experience of living under the occupation. 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, and visit my Boards on Pinterest

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01 Painting, Middle East Artists, with Footnotes, #23

Sliman Mansour, B. 1947, Palestinian

FROM JERUSALEM, c. 2004 

Oil on canvas

116.5 by 62cm.; 45⅞ by 24⅜in.

Peivate collection

Born in 1947, Birzeit, Palestine, Sliman Mansour studied fine art at the Bezalel Art Academy in Jerusalem. He has held solo exhibitions in Ramallah, New York, Sharjah, Cairo, Gaza and Stavanger, Norway. His group exhibitions include Museum of Oriental Art, Moscow (1980), Palestinian Spring, Al-Hakawati Theatre, Jerusalem, 1985; New Visions, Jordan National Gallery of Fine Arts, Amman, 1991; Made in Palestine, Station Museum of Contemporary Art, Houston, Texas, 2003; and Contemporary Graphic Art in the Arab World, Nabad Gallery, Amman, 2010. In 1998 he received the Palestine Prize for the Visual Arts at the Cairo Biennial. Sliman Mansour draws inspiration from the subject of the olive tree, and has focused on the theme of ‘land’ since 1970. His recent work is centred on the individual figure to convey the ‘different states of exhausting anticipation or loss,’ resulting from his experience of living under the occupation. 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, and visit my Boards on Pinterest

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01 Painting, Middle East Artists, BAHMAN MOHASSES' TIRESIAS DIDN'T KNOW MUCH ABOUT THE FUTURE, with Footnotes, #22

BAHMAN MOHASSES, 1931-2010, Iranian

TIRESIAS NON SAPEVA TANTO DEL FUTURO/ TIRESIAS DIDN'T KNOW MUCH ABOUT THE FUTURE, c. 1970

Oil on canvas, in three parts

100 by 210 cm.; 39⅜ by 82⅝ in.

Private collection

In Greek mythology, Tiresias was a blind prophet of Apollo in Thebes, famous for clairvoyance and for being transformed into a woman for seven years. He was the son of the shepherd Everes and the nymph Chariclo. Tiresias participated fully in seven generations in Thebes, beginning as advisor to Cadmus himself.

Eighteen allusions to mythic Tiresias, noted by Luc Brisson, fall into three groups: one, in two episodes, recounts Tiresias' sex-change and his encounter with Zeus and Hera; a second group recounts his blinding by Athena; a third, all but lost, seems to have recounted the misadventures of Tiresias. 

Among the ancient authors who mention him are Sophocles, Euripides, Pindar, and Ovid. More on Tiresias 

Bahman Mohassess (March 1931 Rasht, Iran – 28 July 2010 Rome, Italy), dubbed by some as the "Persian Picasso", was an Iranian painter, sculptor, translator, and theatre director. His oeuvre comprises paintings, sculptures and collages. He was also a celebrated translator of literary works. His works are highly collected and extremely rare. He is said to have destroyed many of his own works, and those that become available at auction are now highly sought after.

At age 14 he learned painting by apprenticing with Seyyed Mohammed Habib Mohammedi, who had studied at the Russian Academy of Arts. He moved with his family from Rasht to Tehran, where he attended Tehran's Faculty of Fine Arts. During the same period he joined the "Cockfight Art and Culture Society", established by Jalil Ziapour, and was, for some time, the editor of the literary and art weekly "Panjeh Khoroos" (Rooster Foot). Through this period, he was part of an avant-garde artistic movement, who were all considered progressive artists of their time. In 1954 he moved to Italy to study at the Fine Art Academy of Rome.

He returned to Iran in 1964 and participated in Venice, São Paulo and Tehran Biennale. Mohasses directed plays, including Pirandello's Henry IV at Goethe Institute and Ghandriz Hall in Tehran. He also translated books of a number of authors,.

He stayed in Iran until 1968, before returning to Rome 1954, where he received commissions for statutes to be placed in Tehran. Some of his public works in Iran were destroyed or damaged after the Islamic Revolution, with the artist subsequently destroying all his remaining works in Iran. He occasionally travelled to Iran and died in self-imposed seclusion in Rome in 2010. More on Bahman Mohassess 

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

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