Dana Nehdaran's painting series "Esther's Children" draws on old family photographs to explore his ancestral heritage. By altering faces in the paintings, Nehdaran inserts himself into the images, seeking a connection to his ancestors. The meticulous recreations of the photographs allow Nehdaran to examine the lives of ordinary Iranian families in the past. Through manipulating aspects of the original photos, Nehdaran bridges past and present, engaging his own perception and understanding of history.
This document provides an overview of several Post-Impressionist artists including Pierre-Auguste Renoir, Edgar Degas, James Abbott McNeil Whistler, Mary Cassatt, Auguste Rodin, Vincent van Gogh, Paul Gauguin, Georges Seurat, Paul Cezanne, Henri Rousseau, and Edvard Munch. It summarizes some of their key works, styles, and artistic innovations that pushed beyond Impressionism towards more symbolic and expressive representations.
Zeng Fanzhi's exhibition "In the Studio" will be shown concurrently at Hauser & Wirth galleries in Zurich, London, and Hong Kong from September to November 2018. The exhibition focuses on Zeng's artistic process and recent developments, showing new abstract landscapes in Zurich, portraits from the 1980s to present in London, and works exploring Eastern and Western artistic traditions in Hong Kong. Over his 30-year career, Zeng has challenged conventions of painting through investigations of brushwork, color, space, and the relationship between abstraction and representation.
This document provides biographical information about artist Agustin Rolando Rojas. It includes details about his education, solo exhibitions, prizes/awards, and artworks in collections. Rojas was born in 1959 in Havana, Cuba and now resides in Toronto. He is a printmaker, drawer, and painter who works primarily in drypoint engraving. His solo shows have explored themes of exile, memory, and human connection through depictions of embraces. He is recognized for his technical mastery and expressive use of line and tone.
Final Art Project: Mythology in Art by Lauren Priebepriebe2
This document provides information on five artworks from the Prado Museum in Madrid, Spain that depict mythology. It includes details on the medium, dimensions, and key elements of each piece: Venus (sculpture), The Three Graces (painting), The Contest of Diana's Nymphs (ceramic), Crossing the River Styx (painting), and Sarcophagus with the Story of Achilles and Polyxena (sculpture). The author selected these pieces because they represent different stories and figures from mythology through various artistic mediums.
1. During the Renaissance, there were two main types of portraiture: collective portraits depicting groups of people, and independent portraits focused on a single individual.
2. Leonardo da Vinci was influential in developing techniques like sfumato and chiaroscuro that gave portraits a sense of naturalism and psychology. His Mona Lisa set new standards.
3. Raphael was deeply influenced by Leonardo's innovations and adopted techniques like pyramidal composition and subtle background treatment in his own portraits of Agnolo and Maddalena Doni commissioned in 1506.
The document contrasts Chinese and European art styles through examples. In China, a painter disappeared into his own cave painting. Europeans feared depicting eyes realistically in case the subject came to life. A blacksmith used his painting skills to impress a painter's daughter. Chinese art requires viewers to actively participate mentally, while European art aims for perfect realism. The concept of landscape in Chinese art represents the Daoist view of yin and yang energies interacting in nature and in the void between them.
The artist gave a presentation about how her 2008 residency at an art center in Catalonia influenced her abstract artwork. During her 3-week residency, she was inspired by the rural landscape, ancient buildings, and slate cliffs. Upon returning home, she continued developing an abstract visual language informed by memories and impressions from Catalonia, like the pale morning light and weathered stone textures. Over time, her work has evolved from direct responses to more generalized expressions of themes like the passage of time. The residency experience provided breakthrough moments that added to her abstract vocabulary and personal visual language.
After years of online life, we managed to print our first issue in 2015 and launched it at the Venice Art Biennale. In the occasion Posi+tive presents six artists of the ECC, European Cultural Center in Weissensee.
This document provides an overview of several Post-Impressionist artists including Pierre-Auguste Renoir, Edgar Degas, James Abbott McNeil Whistler, Mary Cassatt, Auguste Rodin, Vincent van Gogh, Paul Gauguin, Georges Seurat, Paul Cezanne, Henri Rousseau, and Edvard Munch. It summarizes some of their key works, styles, and artistic innovations that pushed beyond Impressionism towards more symbolic and expressive representations.
Zeng Fanzhi's exhibition "In the Studio" will be shown concurrently at Hauser & Wirth galleries in Zurich, London, and Hong Kong from September to November 2018. The exhibition focuses on Zeng's artistic process and recent developments, showing new abstract landscapes in Zurich, portraits from the 1980s to present in London, and works exploring Eastern and Western artistic traditions in Hong Kong. Over his 30-year career, Zeng has challenged conventions of painting through investigations of brushwork, color, space, and the relationship between abstraction and representation.
This document provides biographical information about artist Agustin Rolando Rojas. It includes details about his education, solo exhibitions, prizes/awards, and artworks in collections. Rojas was born in 1959 in Havana, Cuba and now resides in Toronto. He is a printmaker, drawer, and painter who works primarily in drypoint engraving. His solo shows have explored themes of exile, memory, and human connection through depictions of embraces. He is recognized for his technical mastery and expressive use of line and tone.
Final Art Project: Mythology in Art by Lauren Priebepriebe2
This document provides information on five artworks from the Prado Museum in Madrid, Spain that depict mythology. It includes details on the medium, dimensions, and key elements of each piece: Venus (sculpture), The Three Graces (painting), The Contest of Diana's Nymphs (ceramic), Crossing the River Styx (painting), and Sarcophagus with the Story of Achilles and Polyxena (sculpture). The author selected these pieces because they represent different stories and figures from mythology through various artistic mediums.
1. During the Renaissance, there were two main types of portraiture: collective portraits depicting groups of people, and independent portraits focused on a single individual.
2. Leonardo da Vinci was influential in developing techniques like sfumato and chiaroscuro that gave portraits a sense of naturalism and psychology. His Mona Lisa set new standards.
3. Raphael was deeply influenced by Leonardo's innovations and adopted techniques like pyramidal composition and subtle background treatment in his own portraits of Agnolo and Maddalena Doni commissioned in 1506.
The document contrasts Chinese and European art styles through examples. In China, a painter disappeared into his own cave painting. Europeans feared depicting eyes realistically in case the subject came to life. A blacksmith used his painting skills to impress a painter's daughter. Chinese art requires viewers to actively participate mentally, while European art aims for perfect realism. The concept of landscape in Chinese art represents the Daoist view of yin and yang energies interacting in nature and in the void between them.
The artist gave a presentation about how her 2008 residency at an art center in Catalonia influenced her abstract artwork. During her 3-week residency, she was inspired by the rural landscape, ancient buildings, and slate cliffs. Upon returning home, she continued developing an abstract visual language informed by memories and impressions from Catalonia, like the pale morning light and weathered stone textures. Over time, her work has evolved from direct responses to more generalized expressions of themes like the passage of time. The residency experience provided breakthrough moments that added to her abstract vocabulary and personal visual language.
After years of online life, we managed to print our first issue in 2015 and launched it at the Venice Art Biennale. In the occasion Posi+tive presents six artists of the ECC, European Cultural Center in Weissensee.
This document provides analysis of paintings by Peter Paul Rubens and Frans Hals. It discusses Rubens' painting "The Death of Decius Mus at the Battle", noting its depiction of chaos in battle through curved lines and use of shadows and color to define shapes. It also analyzes Rubens' "Portrait of Maria Serra Pallavicino" and his influences from Titian and Veronese. The document then discusses Frans Hals' "The Merry Drinker" and "Banquet of the Officers", praising his loose brushstrokes and use of light and shadow to convey texture and dimension in both works. It notes Hals was influenced by Tintoretto's loose painter
This document discusses three paintings by French post-impressionist artist Paul Cezanne. It describes his portrait painting as signifying his move away from impressionism. It highlights his skill in still life paintings, including one of apples praised for its purity. It also examines a painting of card players, noting Cezanne's use of inaccuracy to enhance elements and convey slight tension between the subjects.
This document discusses three paintings by Paul Cezanne. It describes a portrait known as one of Cezanne's finest that signified his move away from Impressionism. It also discusses two still life paintings, one featuring apples that was praised by a critic for its purity and harmony. This still life is famous for Cezanne's intentional inaccuracies that enhance the main subject. The third painting depicted two card players and used similar inaccuracies to convey slight tension between the players.
Vincent Van Gogh was a Dutch post-Impressionist painter born in 1853. He had a difficult life, working various jobs before deciding to become an artist in his late 20s. He was influenced by realism and the Barbizon school early on, and later by Impressionism after moving to Paris. Van Gogh struggled with mental illness and cut off his own ear, later dying by suicide in 1890. Students from two schools studied Van Gogh's work, particularly his famous painting "Starry Night", and created their own paintings inspired by his unique style and use of color. The students' paintings covered themes of night skies, landscapes, and symbols of life and death.
The document discusses different genres and elements of theater. It defines theater as a live performance art that combines elements of visual and literary arts. The core elements of theater are identified as plot, theme, characters, language, music, and spectacle. Different genres of theater are also outlined, including comedy, tragedy, musicals, operas, and improvisational theater. Examples are provided for each genre. The document also explores experiencing theater in New York City and references works by various playwrights and theorists on defining and understanding theater.
Botticelli, Sandro (c1445-1510) was the most individual, if not the most influential, painter in Florence at the end of the 15th century Renaissance. He spent almost all his life in his native Florence. At the peak of his career, Botticelli was the most sought-after painter in the city and head of a thriving workshop His only important journey outside Florence was made when he was on the of the artists chosen to decorate the Sistine Chapel in Rome – The most prestigious commission of the day. This presentation included three of his most popular and important paintings today – The Birth of Venus, La Primavera and Venus and Mars. The presentation explores the meanings behind these the great iconic paintings of the Renaissance
Art Criticism on Marc Chagall’s ‘Paris through the Window’Christina Sookdeo
So...I'm no art professional and my criticism is purely my thoughts (which some can disagree with freely) so please be understanding since this was an assignment from two years ago. If it's helpful in any way then...you're welcome :)
Art Students Select-Three Reasons to Love Artglennhirsch
This document contains summaries of artworks selected by students in an intermediate-advanced painting class. The students discuss works by various artists including Wangechi Mutu, Joan Brown, Franklin Williams, Wayne Thiebaud, Hung Liu, Sarah Stolar, Caravaggio, Marlene Dumas, Francis Bacon, František Kupka, Piet Mondrian, Claude Monet, Nathan Oliveira, Graham Sutherland, Larry Thomas, Pierre-Auguste Renoir, Mark Rothko, Daniel Keys, Nicolai Fechin, Carolyn Anderson, Bato Dugarzhapov, Brian Ballard, Lynn Boggess, Richard Diebenkorn, and Nelson Stevens. The students
The art pieces chosen from the Art Institute of Chicago depict scenes and feelings from 19th century Europe that appeal to the presenter. Five items will be displayed thematically in a gallery space designed to resemble a 19th century room: a bust will greet visitors near the entrance while two photographs flank a couch, and two additional pieces are placed near the exit, one on each side of the door. Though varying in medium, all pieces have warm tones and expressiveness that evoke 19th century European lifestyle and romance in a way that is suitable for modern decorative display.
This document provides background information on Les Fauves, an early 20th century art movement known for bold, expressive use of color. It discusses the context of 1900s Europe and goals of Fauvism to express emotion through color alone. Key artists like Matisse, Derain, and Vlaminck are profiled, noting their vibrant, unrestrained styles. Influences on Fauvism from other artists like Gauguin, Van Gogh, and Cezanne who experimented with color and form are also cited. By 1908, the movement began to dissolve as individual artists evolved their styles in different directions like Cubism.
This document provides biographical information on three artists: Monir Farmanfarmaian, Mohammed Kazem, and David Hockney. It discusses Farmanfarmaian's background, education, artistic journey focusing on mirror mosaics, exile during the Iranian Revolution, and current work in Tehran. For Mohammed Kazem, it outlines his background as a conceptual Emirati artist working in Dubai and his incorporation of new media. David Hockney is also mentioned but no details are provided.
This document provides information on several artists:
- Francis Bacon was an Irish-born British painter known for his abstracted figures isolated in cages against flat backgrounds. Later he mainly painted portrait heads of friends.
- Gustav Klimt was an Austrian symbolist painter known for eroticized paintings focusing on the female body.
- Picasso was a highly influential 20th century Spanish painter and sculptor who co-founded Cubism.
- Several other artists mentioned include Eric Zener, Jason deCaires Taylor, Jacques-Louis David, Thomas Eakins, Fabian Perez, and George Bellows.
KANDINSKY, Wassily, Featured Paintings in Detail (1)guimera
The document provides details on several paintings by Wassily Kandinsky, including Moscow. Red Square (1916), Blue Mountain (1908), Small Pleasures (1913), and Lady in Moscow (1912). For each painting, it describes the composition, symbolism, and Kandinsky's artistic intentions and theories. It also provides biographical context, noting Kandinsky's pioneering role in abstract modern art and his goal of creating spiritual, emotionally evocative paintings through non-objective forms and colors.
This document summarizes Barbara Kerwin's artistic career and body of work over 15 years. It describes her evolution from unconventional "constructed paintings" in graduate school to more traditional wall-mounted rectangular paintings. Several solo exhibitions are highlighted that explored themes like architecture, dreams, and film through variations on the rectangle format. The document also mentions a recent survey exhibition titled "Geometric Progressions" that curated Kerwin's work from the past 15 years and included a video interview.
The Van Gogh Museum in Amsterdam has the world's largest collection of artworks by Vincent van Gogh, including over 200 of his paintings, 500 drawings, and 750 letters. The museum allows visitors to learn about van Gogh's life and career through his artworks and writings. Van Gogh's most famous painting, Starry Night, depicts the night sky over a small village and is one of the most recognized artworks in the world. The swirling brushstrokes in the sky and bending trees emulate the dreamlike quality van Gogh was trying to achieve during his stay in an asylum.
The document discusses how the myth and symbolism of Narcissus has changed over time as depicted in works of art. In antiquity, Narcissus rejected lovers while admiring himself. In the 20th century, Sigmund Freud argued that self-love is necessary for well-being. Artists like Dali and Cayla depicted Narcissus in new ways, showing a shift from seeing narcissism as shameful to being a natural part of oneself. Their works demonstrate how the myth of Narcissus has become one of healthy pride rather than self-centeredness.
NZQA Scholarship Art History Slideshow (Quotes)ZacM
This document contains information about over 100 artworks from major artists such as Botticelli, Da Vinci, Michelangelo, Raphael, Tintoretto, Van Gogh, Gauguin, Seurat, Matisse, Derain, Vlaminck, Kirchner, Kandinsky, Marc, Rothko, Pollock, De Kooning, Rauschenberg, Warhol, Lichtenstein, Chicago and others. Each entry includes the title, artist, date of creation for many influential paintings from the 15th century through the 20th century spanning the Renaissance, Post-Impressionism and Modern art periods.
Dana Nehdaran is an Iranian artist born in 1982 who works primarily in painting. She received degrees in painting and carpet design in Iran. Some of her most notable series include Hidden, Bath, Inside Layers, Feelings, Woman, My Mona Lisa, and Esther's Children. Esther's Children is based on historic portraits of Iranian Jews and explores Nehdaran's own ancestral origins. Her current series, The Agitation of Pleasure, recreates famous works using old materials to imagine their original secrets and pleasures over time. Nehdaran has had numerous solo and group exhibitions internationally and her works are in private collections worldwide.
The document summarizes an art analysis essay about a stele from ancient Egypt. It describes the visual details of the stele, including that it depicts three ordinary figures - a seated man and two standing women. The figures are represented realistically and wear plain clothing. The essay notes the stele conveys a solemn and forlorn mood through the blank expressions on the figures' faces. It suggests the stele serves as a memorial for a family member without providing many contextual details.
Aziz Anzabi is an Iranian artist known for his figurative and abstract paintings and sculptures that explore themes of humanity, emotion, and the collective unconscious. Through subtle details, he aims to capture the myriad states of the human condition or evoke a sense of ancient rituals. Whether figurative or abstract, his goal is for viewers to feel a sense of familiarity or having experienced his works before due to shared aspects of human experience. Anzabi draws influences from other artists while developing his own diverse and innovative styles. He has received recognition worldwide for his artwork and has exhibited in museums and galleries internationally.
This document provides analysis of paintings by Peter Paul Rubens and Frans Hals. It discusses Rubens' painting "The Death of Decius Mus at the Battle", noting its depiction of chaos in battle through curved lines and use of shadows and color to define shapes. It also analyzes Rubens' "Portrait of Maria Serra Pallavicino" and his influences from Titian and Veronese. The document then discusses Frans Hals' "The Merry Drinker" and "Banquet of the Officers", praising his loose brushstrokes and use of light and shadow to convey texture and dimension in both works. It notes Hals was influenced by Tintoretto's loose painter
This document discusses three paintings by French post-impressionist artist Paul Cezanne. It describes his portrait painting as signifying his move away from impressionism. It highlights his skill in still life paintings, including one of apples praised for its purity. It also examines a painting of card players, noting Cezanne's use of inaccuracy to enhance elements and convey slight tension between the subjects.
This document discusses three paintings by Paul Cezanne. It describes a portrait known as one of Cezanne's finest that signified his move away from Impressionism. It also discusses two still life paintings, one featuring apples that was praised by a critic for its purity and harmony. This still life is famous for Cezanne's intentional inaccuracies that enhance the main subject. The third painting depicted two card players and used similar inaccuracies to convey slight tension between the players.
Vincent Van Gogh was a Dutch post-Impressionist painter born in 1853. He had a difficult life, working various jobs before deciding to become an artist in his late 20s. He was influenced by realism and the Barbizon school early on, and later by Impressionism after moving to Paris. Van Gogh struggled with mental illness and cut off his own ear, later dying by suicide in 1890. Students from two schools studied Van Gogh's work, particularly his famous painting "Starry Night", and created their own paintings inspired by his unique style and use of color. The students' paintings covered themes of night skies, landscapes, and symbols of life and death.
The document discusses different genres and elements of theater. It defines theater as a live performance art that combines elements of visual and literary arts. The core elements of theater are identified as plot, theme, characters, language, music, and spectacle. Different genres of theater are also outlined, including comedy, tragedy, musicals, operas, and improvisational theater. Examples are provided for each genre. The document also explores experiencing theater in New York City and references works by various playwrights and theorists on defining and understanding theater.
Botticelli, Sandro (c1445-1510) was the most individual, if not the most influential, painter in Florence at the end of the 15th century Renaissance. He spent almost all his life in his native Florence. At the peak of his career, Botticelli was the most sought-after painter in the city and head of a thriving workshop His only important journey outside Florence was made when he was on the of the artists chosen to decorate the Sistine Chapel in Rome – The most prestigious commission of the day. This presentation included three of his most popular and important paintings today – The Birth of Venus, La Primavera and Venus and Mars. The presentation explores the meanings behind these the great iconic paintings of the Renaissance
Art Criticism on Marc Chagall’s ‘Paris through the Window’Christina Sookdeo
So...I'm no art professional and my criticism is purely my thoughts (which some can disagree with freely) so please be understanding since this was an assignment from two years ago. If it's helpful in any way then...you're welcome :)
Art Students Select-Three Reasons to Love Artglennhirsch
This document contains summaries of artworks selected by students in an intermediate-advanced painting class. The students discuss works by various artists including Wangechi Mutu, Joan Brown, Franklin Williams, Wayne Thiebaud, Hung Liu, Sarah Stolar, Caravaggio, Marlene Dumas, Francis Bacon, František Kupka, Piet Mondrian, Claude Monet, Nathan Oliveira, Graham Sutherland, Larry Thomas, Pierre-Auguste Renoir, Mark Rothko, Daniel Keys, Nicolai Fechin, Carolyn Anderson, Bato Dugarzhapov, Brian Ballard, Lynn Boggess, Richard Diebenkorn, and Nelson Stevens. The students
The art pieces chosen from the Art Institute of Chicago depict scenes and feelings from 19th century Europe that appeal to the presenter. Five items will be displayed thematically in a gallery space designed to resemble a 19th century room: a bust will greet visitors near the entrance while two photographs flank a couch, and two additional pieces are placed near the exit, one on each side of the door. Though varying in medium, all pieces have warm tones and expressiveness that evoke 19th century European lifestyle and romance in a way that is suitable for modern decorative display.
This document provides background information on Les Fauves, an early 20th century art movement known for bold, expressive use of color. It discusses the context of 1900s Europe and goals of Fauvism to express emotion through color alone. Key artists like Matisse, Derain, and Vlaminck are profiled, noting their vibrant, unrestrained styles. Influences on Fauvism from other artists like Gauguin, Van Gogh, and Cezanne who experimented with color and form are also cited. By 1908, the movement began to dissolve as individual artists evolved their styles in different directions like Cubism.
This document provides biographical information on three artists: Monir Farmanfarmaian, Mohammed Kazem, and David Hockney. It discusses Farmanfarmaian's background, education, artistic journey focusing on mirror mosaics, exile during the Iranian Revolution, and current work in Tehran. For Mohammed Kazem, it outlines his background as a conceptual Emirati artist working in Dubai and his incorporation of new media. David Hockney is also mentioned but no details are provided.
This document provides information on several artists:
- Francis Bacon was an Irish-born British painter known for his abstracted figures isolated in cages against flat backgrounds. Later he mainly painted portrait heads of friends.
- Gustav Klimt was an Austrian symbolist painter known for eroticized paintings focusing on the female body.
- Picasso was a highly influential 20th century Spanish painter and sculptor who co-founded Cubism.
- Several other artists mentioned include Eric Zener, Jason deCaires Taylor, Jacques-Louis David, Thomas Eakins, Fabian Perez, and George Bellows.
KANDINSKY, Wassily, Featured Paintings in Detail (1)guimera
The document provides details on several paintings by Wassily Kandinsky, including Moscow. Red Square (1916), Blue Mountain (1908), Small Pleasures (1913), and Lady in Moscow (1912). For each painting, it describes the composition, symbolism, and Kandinsky's artistic intentions and theories. It also provides biographical context, noting Kandinsky's pioneering role in abstract modern art and his goal of creating spiritual, emotionally evocative paintings through non-objective forms and colors.
This document summarizes Barbara Kerwin's artistic career and body of work over 15 years. It describes her evolution from unconventional "constructed paintings" in graduate school to more traditional wall-mounted rectangular paintings. Several solo exhibitions are highlighted that explored themes like architecture, dreams, and film through variations on the rectangle format. The document also mentions a recent survey exhibition titled "Geometric Progressions" that curated Kerwin's work from the past 15 years and included a video interview.
The Van Gogh Museum in Amsterdam has the world's largest collection of artworks by Vincent van Gogh, including over 200 of his paintings, 500 drawings, and 750 letters. The museum allows visitors to learn about van Gogh's life and career through his artworks and writings. Van Gogh's most famous painting, Starry Night, depicts the night sky over a small village and is one of the most recognized artworks in the world. The swirling brushstrokes in the sky and bending trees emulate the dreamlike quality van Gogh was trying to achieve during his stay in an asylum.
The document discusses how the myth and symbolism of Narcissus has changed over time as depicted in works of art. In antiquity, Narcissus rejected lovers while admiring himself. In the 20th century, Sigmund Freud argued that self-love is necessary for well-being. Artists like Dali and Cayla depicted Narcissus in new ways, showing a shift from seeing narcissism as shameful to being a natural part of oneself. Their works demonstrate how the myth of Narcissus has become one of healthy pride rather than self-centeredness.
NZQA Scholarship Art History Slideshow (Quotes)ZacM
This document contains information about over 100 artworks from major artists such as Botticelli, Da Vinci, Michelangelo, Raphael, Tintoretto, Van Gogh, Gauguin, Seurat, Matisse, Derain, Vlaminck, Kirchner, Kandinsky, Marc, Rothko, Pollock, De Kooning, Rauschenberg, Warhol, Lichtenstein, Chicago and others. Each entry includes the title, artist, date of creation for many influential paintings from the 15th century through the 20th century spanning the Renaissance, Post-Impressionism and Modern art periods.
Dana Nehdaran is an Iranian artist born in 1982 who works primarily in painting. She received degrees in painting and carpet design in Iran. Some of her most notable series include Hidden, Bath, Inside Layers, Feelings, Woman, My Mona Lisa, and Esther's Children. Esther's Children is based on historic portraits of Iranian Jews and explores Nehdaran's own ancestral origins. Her current series, The Agitation of Pleasure, recreates famous works using old materials to imagine their original secrets and pleasures over time. Nehdaran has had numerous solo and group exhibitions internationally and her works are in private collections worldwide.
The document summarizes an art analysis essay about a stele from ancient Egypt. It describes the visual details of the stele, including that it depicts three ordinary figures - a seated man and two standing women. The figures are represented realistically and wear plain clothing. The essay notes the stele conveys a solemn and forlorn mood through the blank expressions on the figures' faces. It suggests the stele serves as a memorial for a family member without providing many contextual details.
Aziz Anzabi is an Iranian artist known for his figurative and abstract paintings and sculptures that explore themes of humanity, emotion, and the collective unconscious. Through subtle details, he aims to capture the myriad states of the human condition or evoke a sense of ancient rituals. Whether figurative or abstract, his goal is for viewers to feel a sense of familiarity or having experienced his works before due to shared aspects of human experience. Anzabi draws influences from other artists while developing his own diverse and innovative styles. He has received recognition worldwide for his artwork and has exhibited in museums and galleries internationally.
This document provides biographical information on three artists: Monir Farmanfarmaian, Mohammed Kazem, and David Hockney. It discusses Farmanfarmaian's background, education, artistic journey focusing on mirror mosaics, exile during the Iranian Revolution, and current work in Tehran. For Mohammed Kazem, it outlines his background as a conceptual Emirati artist working in Dubai and his focus on new media and conceptual forms. David Hockney is also mentioned but no details are provided.
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This document summarizes and compares several artworks that challenge patriarchal norms and sexism from a feminist perspective. It discusses early works by Guerrilla Girls that criticized the lack of female artists in museums. It also analyzes videos by Sadie Benning and installations by Hend Al-Mansour that assert lesbian identities and reject oppressive social standards. Further, it examines paintings by Patricia Olson and Jessica Larson that celebrate female sexuality and menstruation in defiance of cultural taboos surrounding women's bodies. Throughout, the document explores how these diverse artworks expand possibilities for feminist expression.
This document discusses and compares two drawings from different time periods - Henry Moore's Standing Figures from 1940 and Nicholas Hlobo's Macaleni Iintozomlambo from 2010. It explores the similarities and differences in their color schemes, compositions, subject matters, and how the influences of their respective eras shaped the final works. While initially appearing different, upon deeper analysis the two drawings share more similarities than differences.
This document analyzes two artworks through comparison and contrast. The first artwork, titled "End" by Terry Peterson, is a tall wood sculpture featuring a wrapped mummified fish at its center, which the author interprets as ritualistic. The second artwork, titled "Forlakeph" by Gioia Fonda, depicts a realistic scene inside a weathered fence surrounded by trash, seen as social commentary. Key elements and principles of each work are described and compared, such as use of color, shape, line, and focal point.
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The document compares and contrasts two mixed media artworks - End by Terry Peterson, featuring a mummified fish sculpture, and Forlakeph by Gioia Fonda, consisting of items placed in a glass jar. Both works use different materials and styles to express themselves, with the fish sculpture taking a ritualistic form through its wrapped subject and wood frame, while the jar artwork comments on social and environmental issues through found objects. The analysis examines the elements, symbolism, and functions of the two very different yet similarly exploratory pieces.
The document discusses Asian art and how it has been influenced by various cultural and historical changes over time, with many reoccurring themes like religion playing a primary role. Specifically, it analyzes the sculpture "Dancing Ganesha" from the 9th century which depicts the Hindu deity Ganesha in a dancing pose, made of sandstone and showing his round belly and distinctive elephant head. Details about the piece like its size, materials, and religious symbolism are provided to help understand its elements and cultural context.
Similar to Dana Nehdaran_Esther's Children Catalogue, Dubai 2013 (11)
Dana Nehdaran_Esther's Children Catalogue, Dubai 2013
1. Esther,
s ChildrenWhen I first started painting the images of the
photograph collection, “Esther’s Children” by Houman
Sarshar, I was only thinking about the origins of a tribe
who immigrated to Iran during the Achaemenid Empire.
At this point, I subconsciously added some faces to the
photos, and took out some others; the reason for this is
still not clear to me. The next stage was searching my-
self in those paintings. Nevertheless, after the painting
process was over, a feeling grew in me, which is more
important to me than any other experience during
working on this series: it was the connection that those
people in those old images were making with me, and
thinking that they could very well be my own ancestors.
I started seeing signs of their presence at home.
Perhaps those signs had always existed, and I only
noticed them after I did the paintings and experienced
the feelings that followed them.
Dana Nehdaran›s ability to recreate a photograph on
a blank canvas and bring that photograph not only back
to life but reexamine it and reinterpret it, is what makes this
series of works so sensational. The candidacy of the moment
combined with Nehderans flawless attention to detail merge
together to create a vision so captivating it relishes the viewer to a
time where only mere memories remain. Nehdaran uses his innate talent
to draw a connection between these images and his own heritage thus
allowing him to create an ancestral bond so strong it almost feels familiar, as
if he himself were to be present in the images of the past.
His attention to detail and awe inspiring technique allow him to recreate memories
that transcend language, becoming universal in their ability to communicate and pay
ode to the longstanding history and elaborate culture of Iran. His paintings provide a
mode of storytelling that incorporates ideas of truth, reality, cultural value systems, and
perception, playing largely upon their transcendental qualities, ultimately leaving the
viewer with an almost eerie feeling, like that of being haunted by fleeting moments of
the past.
Dana Nehdaran’s paintings are a vivid look into the lives of old Iranian families
providing the viewer with an insight into the established traditions and customs passed
down through generations. By working off of old photographs, the artist has given
himself the ability to decontextualize the images thus engaging his own perception
and understanding in his final creations. He achieves the accurate blend of past and
present within the borders of his canvas deliberately manipulating certain aspects of
the original images while further emphasizing parts of another, ultimately changing the
former discourse, and furthermore providing the viewer with sensations that bridge
both space and time, reorganizing perception and replacing subjectivity.
RIRA Gallery
2. 8 30
14 32
16 34
18 36
19 38
20 40
22 42
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26 w w w . n e h d a r a n . c o m
3. The Kahan family from Golpaygan, Oil on canvas, 200 x 300 cm, 2010
Photograph # 1037, Esther,s Children book
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19. Tow families from Mashhad, Oil on canvas, Diptych, Overall: 172 x 255 cm, Each: 160 x 120, 2010
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20. A family from Hamedan, Oil on canvas, 160 x 250 cm, 2011
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21. A man from Kashan
Oil on canvas
185 x 140 cm
2011
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22. DANA NEHDARAN (B. Isfahan - 1982)
Education
2007 - BA Painting, Sooreh University, Shiraz, Iran
2002 - Associate degree, Carpet design, Isfahan, Iran
Solo Exhibitions
2011 - Esther,s children, Shirin Art Gallery, Tehran, Iran
2010 - My Mona Lisa, Nar Gallery, Tehran, Iran
2008 - The Inside Layers, Morteza Momayez Gallery, Iran Art Organisation, Tehran, Iran
Group Exhibitions
2012 - WONDERLAND, Sokouh Art Gallery, Tehran, Iran
2012 - Tehran auction, Parsian Azadi Hotel, Tehran, Iran
2012 - Opening RIRA gallery, Dubai, UAE
2012 - Jinn (painting), Seyhoun Gallery, Tehran, Iran
2012 - Haft Negah (painting), Farhangsara Niavaran, Tehran , Iran
2012 - Magic of Persia, Art Exhibition & Auction Gala, Salsali Private Museum, Dubai, UAE
2012 - Iranian Contemporary Artist (painting), Middle East Art Gallery, Tehran, Iran
2011 - 1st Modern&Contemporary Visual Art Auction, Tehran, Iran
2011 - Cutting Edge Artists (painting), Mellat Cinema Gallery, Tehran, Iran
2011 - Iranian Painter Association (painting), Contemporary Arts Museum, Isfahan, Iran
2011 - The first Tehran painting market: Barg Gallery, Tehran, Iran
2011 - little dancer (painting), Henna Art gallery, Tehran, Iran
2010 - Young Avant-garde (painting), Mellat Cinema Gallery, Tehran, Iran
2010 - Encyclopaedia Iranica (Charity Art Exhibition), New York, USA
2010 - Auto-portraits II, Silk road gallery ,Tehran, Iran
2010 - Untitled (painting), Art Center, Tehran, Iran
2010 - Untitled (painting), Neel Gallery, (Tehran, Iran)
2009 - 1001 Colours (painting), Canvas Gallery, New York, USA
2009 - Colours for the Green (painting), Mellat Cinema Gallery, Tehran, Iran
2008 - Global Generation Freiburg Group Exhibition, Freiburg, Germany
2008 - Untitled (painting), Nar Gallery, Tehran, Iran
2007 - Photography Expo, Esteqlal hotel, Tehran, Iran
2007 - Eternal Papers (photography), Contemporary Arts Museum, Isfahan, Iran
Professional Experience
2008 - Painter for stage/set for feature film, ‘The Remember’, Iran
2007 - Painter for stage/set for TV series, The Forbidden Fruit, IRIB, Iran
Membership
Member of the Iranian Painter Association
Competitions
2012 - Selected for 9th Image of the year Festival, Short Film Category for ‘Last Supper’ Iran Art Organization, Tehran, Iran
2011 - Selected for short list of MOP CAP, Traffic gallery, Dubai, UAE
2008 - Selected for Damoonfar Festival, Tehran, Iran
2006 - Selected for Damoonfar Festival, Tehran, Iran
Awards
2004 - Winner of Special Prize in Persian New Year Photography, Isfahan, Iran
2003 - Winner of Special Prize in Sketching, Hafezieh Competition, Shiraz, Iran
23. ISearched;NevertoFindit!
Nehdaran’s newest series is based upon
documentary photographs that connect
the artist to his ancestors. The artist
immediately expresses himself in an
introduction to this series:
[When painting the photographs] I could
see things in them that I couldn’t if I hadn’t
painted them with such meticulousness.
In fact, painting the photographs with
brushes, made me see them better.
However, by eliminating old faces and
adding the new ones, Nehdaran reaches
the point in which his very own portraiture
turns up in the paintings: a portrait of
the artist in the prime of childhood. This
embedment helps the artist to seek for his
ancestors: the ancestors whose existence
is hardly traceable in the recorded history
of Iran. The transformation of images
does not fetch up here; rather sometimes
a character melts in the background and
its presence loses its objectivity seeming
more and more like a wandering ghost
trying to convey its existence at least in
the frame of a painting. These ghosts
living in another realm and only intrude our
world from time to time. Such visual traits
may be playing the role of an assertion in
the unwritten history more than anything.
Nehdaran tries to illustrate the nuncupative
stories and nominate their heroes as his
primogenitors to whom he might not have
ever been acquainted but his faith makes
him believe in certain cultural links with
them.
The figures, or better to say, the humans in
these frames weather enjoying a tablature
or suffering from being faded –the ones
whose mere memories remained‐ all are
ordinary people. Nehdaran portrays a world
as it has been in the Old Testament; the
place in which “the whole world had one
language and a common speech” [Genesis
11:1‐9]. From such aspect the name of the
series might have a meaning with a bit of
humorous flavor. For the artist – as what
was written in the Esther’s book in the bible
‐ does not assign himself as different and
apart from the world. This accent reveals
itself in a specific work more than the others.
In the picture which this painting has been
based upon, the main character is seen
sitting beside his acquaintances. Behind
them is his bookshelf which the great
rabbi had brought from
Iraq to Iran by convoy
of camels. In the image
Nehdaran painted of this
photo all these are the
same; but there also is
a child sitting beside the
main character which in
Nehdaran’s version had
taken the shape of the
childhood of the artist. There is also a
portrait of Moses hanging on the bookshelf
that Nehdaran consciously altered it with
a portrait of Mona Lisa. But why Mona
Lisa should be the idoneous substitute for
Moses?
It seems the artist intended to emphasize
on cultural hybridization in the
contemporary world. But apart from that,
there is a more obvious interpretation
in hand. In his previous series “My
Mona Lisa” Nehdaran created various
portraits of Mona Lisa rendered with the
same technique as his new series. The
series starting from the exact image
of Mona Lisa has slowly revolved into
the image of a Mona Lisa who had a
great resemblance to the artist. This
way Dana could obtain
collected variations of
portraits arraying from
the iconic portrait in
the history of art to
his very own. Thus the
substitution of Mona
Lisa with Moses not
only benefits from the
historical function of
Da Vinci’s masterpiece which plays a
certain role as a humanistic icon in the
history of art; but also is a referent to
Nehdaran’s previous series. It looks
as if the artist tries to remember the
long-forgotten parts of his history and
join it to his lived-life experience. He
remembers faces that show themselves
for a languishing moment; even though
they will be gone in a blink of an eye.
He searches for them while quoting this
refrain of Solomon in his mind again
and again: “so I searched everywhere
but did not find him” [Song of Solomon
3:2]. The matter of great importance, of
course, is not the discovering but the
mere act of searching.
Ali Ettehad, 2011
My Mona Lisa, Oil & Acrylic on Canvas 100x120cm 2010, Yahya Oheb collection, Tehran