01 Painting, Middle East Artists, The Art of War, FAIK HASSAN'S ARABIAN HORSEMEN, with Footnotes #82

Faiq Hassan 1914 - 1992 Iraqi

ARABIAN HORSEMEN

Oil on canvas

63 by 75.5 cm.; 24¾ by 29¾ in.

Private collection

Estimate for 7,000 - 9,000 GBP in Mar 2020

While Faiq Hassan’s painting style was influenced by his studies in Europe, he was dedicated to celebrating Iraqi national pride and worked towards developing a local visual language. His cubist works such as Bedouin Tent relay narratives of daily life from the Iraqi peasants living along the Tigris and Euphrates. In this work, two figures are in a tent and surrounded by objects, including the traditional dallah and finjan (coffee pot and cups). The work, rendered in a fragmented fashion is multifaceted, allowing for various viewpoints into the intimate scene. Hassan graduated from the École Nationale Supérieure des Beaux-Arts in Paris in 1938 after receiving a government scholarship. He returned to Baghdad upon completion of his studies and founded the Department of Painting at the Institute of Fine Arts. In 1940, he started the artist group Société Primitive, which in 1959, was renamed the Pioneers Group and in 1967, he founded the Zawiya art group. Hassan has been the subject of numerous solo exhibitions in Baghdad and in 1965 was part of the Iraqi Art group show in Beirut. He was awarded the Golden Prize of the Gulbenkian Foundation in Iraq. His work is in numerous public collections, including Mathaf: Arab Museum of Modern Art in Doha; and the Jordan National Gallery of Fine Arts in Amman. More on Faik Hussain

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01 Painting, Middle East Artists, The Art of War, Ismail Shammout's The wounded, with Footnotes #77

Ismail Shammout (1930 – 2006) 

The wounded, c. 1964

Oil on canvas

Private collection

Young Palestinian holding a bleeding dove looking back with grief

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

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08 Photographs, Middle East Artists, The Art of War, Mustafa Hassona's photography, with Footnotes #61

Mustafa Hassona, Palestinian Territory

13th attempt to break the Gaza blockade by sea, 22 October, 2018

 2019 Sony World Photography Awards

Photograph

In one hand he holds the Palestinian flag and in the other, a slingshot. He wears an expression of determination as smoke billows in the background. Aed Abu Amro was just 20 years old when photojournalist Mustafa Hassona captured this powerful image of him during a violent protest in Gaza on 22 October 2018.

Aed Abu Amro (born 1999) is a young Palestinian from Zeitoun, Gaza in the blockaded Gaza strip. He became an iconic figure when a powerful image of him, taken by photojournalist Mustafa Hassona during the Great March of Return protest in Gaza on 22 October 2018, went viral and became a symbol of Palestinian resistance. The image was compared to the 1830 painting Liberty Leading the People. However, while some interpreted the imagery as a representation of a biblical David versus Goliath, some considered the depiction to be a celebration of violence, and others saw a romanticisation of Palestinians oppression. More on Aed Abu Amro

Mustafa Hassona’s image of a bare-chested Palestinian protester travelled the internet like wildfire. As he scoops a prize in this year’s Sony World Photography Awards, the photojournalist shares the story of its creation. More on this photograph

Shortly after its creation, the image went viral. Many likened it to Eugène Delacroix’s famous 1830 painting, Liberty Leading the People

Mustafa Hassona, Palestinian Territory

Photograph

Mustafa Hassona is a winner of Sony World Photography Awards, winner of maltaphotoaward, winner of All About Photo Photographer of the Year 2019, winner of LENSCULTURE AWARDS Visual Storytelling Awards 2019, Finalist, Documentary, selected by the Guardian in Agency photographer of the year – 2018 shortlist, in 2015, and selected by the Guardian for the best photographer for 2014

Mustafa Hassona, Palestinian Territory

Photograph

Since 30 of May 2018 Palestinian protesters protested weekly on the border with Israel in order to demand for their rights of return, the protests where around 250 Palestinian protesters were killed and 21.800 were injured by Israeli snipers along the border area of Gaza Strip with Israel. KOLGA Awards

Mustafa Hassona

Photograph

Mustafa Hassona

Palestinian rights of return protests

Photograph

The conflict between Israel and Palestine has been going on for over one hundred years. Fighting has escalated once more, since 2018, with Palestinians protesting every week at the border with Israel. This is where the project titled Palestinian Rights of Return Protests emerged. Hassona’s images have caught the attention of the media and social networks – in particular, a picture of a young fighter, reminiscent of Eugène Delacroix’s famous picture, Liberty Leading the People. More on this photograph

Mustafa Hassona

Farewell

Photograph

Mustafa Hassona

A car clearly marked “TV.”

Photograph

 Israel has barred foreign media access to Gaza and bombed media offices as attacks on civilians and Palestinian journalists escalate.

Mustafa Hassona
Palestinian child’s birthday

Photograph

Palestinian child’s birthday celebrated near debris of former house GAZA CITY, GAZA – MAY 25: Sabih family and friends of 13 year old Mahmoud Sabih (4th R) celebrate his birthday near the debris of their former house, collapsed after Israeli attacks began on May 10 in Gaza Strip, Gaza on May 25, 2021.

But rather than crying out, pictures that emanate from Palestine increasingly point to a question: “What exactly can’t you see in what I am seeing?” (or, put another way: What the fuck can’t you see in this?). e-flux

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01 Painting, Middle East Artists, The Art of War, Faeq Hassan's Untitled (Salah Al-Din, presumably Battle of Hattin), with Footnotes #72

Faeq Hassan (Iraqi, 1914-1992)

Untitled (Salah Al-Din, presumably Battle of Hattin), c. 1968

Oil on canvas

67 x 38 3/8in (170 x 227cm.)

Private collection

Estimate for USD 400,000 – USD 500,000 in Mar 2017

The Battle of Hattin took place on 4 July 1187, between the Crusader states of the Levant and the forces of the Ayyubid sultan Saladin. It is also known as the Battle of the Horns of Hattin, due to the shape of the nearby extinct volcano of that name.

The Muslim armies under Saladin captured or killed the vast majority of the Crusader forces, removing their capability to wage war. As a direct result of the battle, Muslims once again became the eminent military power in the Holy Land, re-capturing Jerusalem and most of the other Crusader-held cities and castles. These Christian defeats prompted the Third Crusade, which began two years after the Battle of Hattin. More on The Battle of Hattin

Faeq Hassan (1914–1992) was an Iraqi painter noted for founding several 20th century art groups, which collectively were responsible for bridging the gap between Iraqi heritage and traditional art and modern art. He is often called the 'father of Iraqi modern art.'

Hassan was born in Baghdad in 1914 His father had died before Hassan was born. As a child, he helped his mother who made folkloric clay statues of Arab Bedouins and local farmers. As a young boy, he visited his uncle who was working as a gardener for King Faisal I where the King saw the boy drawing a horse. Recognising his talent, the King promised to give the young artist a scholarship. However, the King died in 1933 before he could carry out his promise.

During the early 1930s, Hassan gave art lessons at a local school, and when the new King Faisal II visited his school, he ordered that Hassan be sent to Paris to study art, thus fulfilling his father's earlier promise to the young boy. He graduated from the École des Beaux-Arts, Paris in 1938. Hassan was one a very small group of artists sent to study abroad. On their return to Iraq, this group became the cornerstone of modern art in Iraq.

On his return to Baghdad, Hassan founded the Painting Department at the Fine Arts Institute in 1939-1940. He also founded the Al-Ruwad (The Pioneers Group), in the 1930s . The group attempted to incorporate local phenomena into art. They rejected the artificial atmosphere of the artist’s studio and encouraged artists to engage with nature and traditional Iraqi life and held their first exhibition in 1931. This group was responsible for taking the first steps towards bridging the gap between modernity and heritage.

For most of his working life, he was a member of the Iraqi Artists' Society. He died in 1992 from heart failure. More on Faeq Hassan

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01 Painting, Middle East Artists, The Art of War, Ismail Shammout's Massirat Sha'ab (Odyssey of a People), with Footnotes #76

Ismail Shammout (Palestinian, 1931-2006)

Massirat Sha'ab (Odyssey of a People), c. 1980

Oil on canvas

40 ¾ x 237 ¾in. (103.5 x 604cm.)

Private collection

Estimate for USD 800,000 – USD 900,000 in March 2017

‘The painting was not just a means to beautifying one’s life, albeit essential in such a harsh and agonizing environment, but it was an expression of hope, an embodiment of the Palestinian wound, a mirror reflecting the Palestinians yearning for salvation and return.’ (The artist quoted in I. Shammout, Art in Palestine, Kuwait 1989, p. 11).

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

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01 Painting, Middle East Artists, The Art of War, Ismail Shammout's Nahnou bi Kheyr, Taminouna/ We Are in Good Health, Reassure Us, with Footnotes #69

Ismail Shammout (Palestinian, 1931-2006)

Nahnou bi Kheyr, Taminouna (We Are in Good Health, Reassure Us), c. 1976

Oil on canvas

39 3/8 x 27½in. (98 x 68.5cm)

Private collection

Sold for USD 161,000 in Mar 2015

The present lot Nahnou bi Kheir, Taminouna (We are in Good Health, Reassure us) from 1976, is seminal example from the artist's earlier works. Shammout's raw depiction of the Palestinian refugee experience was a recurring motif in his paintings and as such the present work illustrates a Palestinian refugee family in a typical Gaza residence, cramped in their present dwelling. Filled with Palestinian symbolism, Shammout illustrates the determination of his people to regain their homeland through symbolic references borrowed from verbal images that he introduces in his painting's title. The title itself was a common phrase in the days of telegrams that became a signature sign off for Arabic radio programmes in the 1960s and 1970s, particular for people in war zones such as Palestine, that listed names of the families or individuals who wanted to reassure their relatives of their safety.

With this in mind, Shammout captures a seemingly widowed mother, like countless others, who has inherited the responsibility of solely caring for her family. She is proudly dressed in traditional Palestinian attire and is flanked by her three young children who are clinging to her. While the children seem timid and lost, the mother's expression is blank, subtly insinuating the suffering that she has already experienced in her lifetime. In the background, an elderly couple is forlornly in mourning. The walls are adorned with portraits of family members presumably both dead and alive and religious Islamic relics. While each member of the family is absorbed in their own emotion, there is an undeniable sense of unity and defiance. The artist has utilised deep, rich colours to uniquely achieve the sense of simultaneous tragedy yet tranquillity. More on this painting

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

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01 Painting, Middle East Artists, THE ART OF WAR, Mahmoud Afifi's The Resistance: I Have a Gun, with Footnotes #80

Mahmoud Afifi, 1920 - 1984

The Resistance: I Have a Gun

Oil on panel

121 by 55 cm. 47½ by 21¾ in.

Private collection

Sold for 32,760 GBP in October 2021

This painting is characteristic of Afifi’s “Hard Edge” style, which earned him the nickname of the “Egyptian Rouault”. The strong, thick black lines infuse a strong vitality to the scene. Afifi often used his signature technique to reclaim historic battles as a symbol of regional resistance. Under his brush, the Egyptian spirit of revolution is immortalized, rising again after centuries during the agitated period that Afifi witnessed in Egypt during his lifetime. More on this painting

Mahmoud Afifi (b. Alexandria, Egypt) graduated from the Faculty of Arts, 1940; thereafter in 1955 he obtained a diploma in Painting in Rome, Italy. Afifi was guided by the great mentor Hamed Said, who made him join his well known Art Assembly in 1946. Their mission was to go back to the origins and blend with nature. The uniqueness about Afifi’s work is the strong, solid and thick black lines he uses to define the figures, which is known as the “Hard Edge” style.

The pulse Of life of the Egyptian people can be noticed in Afifi’s paintings such as romance, family, and recent historical wars. Thus he went into a phase where he passionately started to symbolize the battles on his canvas where he daringly painted the Egyptian alliance against the enemy such as in the Salah El Din battle and the Rashid battle.

Another phase was sports which started after his participation in the Spain Biennale in the 1960s. The art of Afifi sometimes gives the illusion of joint glass windows while his expressional paintings are full of shape and distinct with grace and proficiency. More on Mahmoud Afifi

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 Painting, Middle East Artists, The Art of War, Ismail Shammout's Thirst, A part of the original mural “The Road To Nowhere”, with Footnotes #76

Ismail Shammout

Thirst, c. 1998

A part of the original mural “The Road To Nowhere”

Oil on canvas

60 x 50

Private collection

"We came and turned the native Arabs into tragic refugees.  And still we dare to slander and malign them, to besmirch their name.  Instead of being deeply ashamed of what we did and trying to undo some of the evil we committed . . . we justify our terrible acts and even attempt to glorify them".  Nathan Chofshi

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

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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01 Painting, Middle East Artists, THE ART OF WAR, Khadiga Riaz's Untitled, with Footnotes #81

Khadiga Riaz, b. 1914

Untitled, c. 1970

Celotex on board

61 by 85 cm. 24 by 33½ in.

Private collection

Sold for 6,300 GBP in October 2021

Khadiga Riad was the daughter of Hamed El Alaily and grand daughter of Ahmed Chawki, born in 1914 in Cairo, Egypt, studied at the Mere de Dieu college and from 1950 to 1954. She is regarded as Egypt's foremost female surrealist.

Riad has many variations in the spelling of her name in English, including Khadija Riyad, and Khadiga Riaz.

She opened her home to the avant-garde "art and liberty movement" and her villa became a focal meeting point for figures such as poet Georges Henin and the artists Ramses Younan , Fouad Kamel and Kamel El-Telmisany.

She followed an informal education in painting from the studio of the Armenian Egyptian artist Zorian between 1950 and 1955. In the 1950's she won fame as she was awarded a prize in the 1959 Alexandria Biennale. In 1960 she exhibited in the Venice Biennale and in 1962 she won the first prize in a national Egyptian painting competition.

Riad adopted an abstract style characterized by the heavy use of a multi-layered paints delicately treated on the surface to give an ethereal and surrealist dimension to her compositions. More on Khadiga Riad

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

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 paintings, Middle East Artists, he Art of War, Laila Shawa's Birds of Paradise in Gaza Sky I & II, with Footnotes #104

Laila Shawa, B. 1940, Gaza, Palestine

Gaza Sky II, c. 2012

 Mixed media and photography on canvas

170.5 x 95 cm

Private collection

These art pieces reflects the haunting reality of life in the Gaza Strip. The people of Gaza are under constant bombing threats, potential attacks, and surveillance by Israeli drone systems. This reality has created a perpetual sense of fearful anticipation. The use of drones is powerfully captured in Shawa’s work, as drones have become essential to the technologies of modern warfare. 

Laila Shawa, B. 1940, Gaza, Palestine

Gaza Sky I, Birds of Paradise, c. 2012

 Mixed media and photography on canvas

170.5 x 95 cm

Private collection

Shawa sheds light on the struggles faced by the people of her homeland, encapsulating the spirit of a community living under the shadow of conflict. Through Gaza Sky II, Shawa brings attention to the cost of technology of modern warfare that inflicts massive human losses at the hands of unmanned combat vehicles. Shawa’s thought-provoking artwork invites us to contemplate the profound impact of new military technology on civilian populations and infrastructure. More on this work

Laila Shawa (Born Gaza 1940) graduated summa cum laude in Fine Arts from the Italian Accademia di Belle Arti in 1964 and received a diploma in plastic arts from the Accademia San Giacomo in Rome. From 1965 to 1967, she returned to Gaza to teach arts and crafts to underprivileged children. She now lives and works in London. As a Palestinian artist, Shawa’s concern is to reflect the political realities of her country, becoming, in the process, a chronicler of events. Her work is based on a heightened sense of realism and targets injustice and persecution wherever their roots may be.

Her work has been exhibited in Italy, Germany, Austria, and the United Kingdom, in most Arab countries, North Africa, Iraq, Russia, China, Japan, Malaysia and USA. She is represented in public and private collections across the world, including the National Galleries of Jordan and Malaysia, the Ashmolean Museum, Oxford, the British Museum in London and the National Museum for Women in the Arts, Washington D.C. Her work is currently on tour in Brazil, in the Centro Cultural Banco do Brazil’s exhibition Isla, the first major exhibition of Islamic Art in Brazil. More on Laila Shawwa

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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