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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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