History of art(west and middle east)- contemporary art

1. August 2017
Aziz Art
Sonia Delaunay
Mohammad
Bozorgi
Abdulnasser
Gharem
Competition

2. http://www.aziz_anzabi.com
1-Sonia Delaunay
10-Competition
11-Mohammad Bozorgi
14-Abdulnasser Gharem
17-Competition
Editor : Nafiseh
Yaghoubi
Translator : Asra
Yaghoubi
Research: Zohreh
Nazari

3. I open a pomegranate
and tell my heart
I wish that the people could clearly show their feelings inside of
their hearts too.
Sohrab

4. Sonia Delaunay
1`

5. Sonia Delaunay
November 14, 1885 – December 5,
1979 was a Ukrainian-born French
artist, who spent most of her
working life in Paris and, with her
husband Robert Delaunay and
others, cofounded the Orphism art
movement, noted for its use of
strong colours and geometric
shapes. Her work extends to
painting, textile design and stage
set design. She was the first living
female artist to have a
retrospective exhibition at the
Louvre in 1964, and in 1975 was
named an officer of the French
Legion of Honor.
Her work in modern design
included the concepts of
geometric abstraction, the
integration of furniture, fabrics,
wall coverings, and clothing.
Early life (1885-1904)
Sonia Delaunay, 1914, Prismes
électriques, oil on canvas, 250 x
250 cm, Musée National d'Art
Moderne, Centre Pompidou, Paris
Sonia Delaunay, Rythme, 1938, oil
on canvas, 182 x 149 cm, Musée
National d'Art Moderne, Paris
Sarah Ilinitchna Stern was
probably born on 14 November
1885 in
Hradyzk, then Ukraine was part of
the Russian Empire, today in
Poltava Oblast in Ukraine. Her
father was foreman of a nail
factory. At a young age she moved
to St. Petersburg, where she was
cared for by her mother's brother,
Henri Terk. Henri, a successful and
affluent lawyer, and his wife Anna
wanted to adopt her but her
mother would not allow it. Finally
in 1890 she was adopted by the
Terks. She assumed the name Sonia
Terk and received a privileged
upbringing with the Terks. They
spent their summers in Finland and
traveled widely in Europe
introducing Sonia to art museums
and galleries. When she was 16 she
attended a well-regarded
secondary school in St. Petersburg,
where her skill at drawing was
noted by her teacher. When she
was 18, at her teacher's suggestion,
she was sent to art school in
Germany where she attended the
Academy of Fine Arts in Karlsruhe.
She studied in Germany until 1905
when she decided to move on to
Paris.

6. Paris (1905-1910)
When she arrived in Paris she
enrolled at the Académie de La
Palette in Montparnasse. Unhappy
with the mode of teaching, which
she thought was too critical, she
spent less time at the Académie
and more time in galleries around
Paris. Her own work during this
period was strongly influenced by
the art she was viewing including
the post-impressionist art of Van
Gogh, Gauguin and Henri
Rousseau and the fauves
including Henri Matisse and
Derain. During her first year
in Paris she met, and in 1908
married,
German art gallery owner
Wilhelm Uhde. Little is known
about their union,
but it is assumed to have been a
marriage of convenience
to escape the demands of her
parents, who disliked her artistic
career, for her to return to
Russia.Sonia gained entrance into
the art world via exhibitions at
Uhde's gallery and benefitted
from his connections, and Uhde
masked his homosexuality through
his public marriage to Sonia.
Comtesse de Rose, mother of
Robert Delaunay, was a regular
visitor to Uhde's gallery, sometimes
accompanied by her son. Sonia met
Robert Delaunay in early 1909.
They became lovers in April of that
year and it was decided that she
and Uhde should divorce. The
divorce was finalised in August
1910. Sonia was pregnant and she
and Robert married on November
15, 1910. Their son Charles was
born on January 18, 1911.They
were supported by an allowance
sent from Sonia's aunt in St.
Petersburg.
Sonia said about Robert: "In Robert
Delaunay I found a poet. A poet
who wrote not with words but with
colours"
Orphism (1911-1913)
In 1911, Sonia Delaunay made a
patchwork quilt for Charles's crib,
which is now in the collection of
the Musée National d'Art Moderne
in Paris. This quilt was created
spontaneously and uses geometry
and colour.

7. "About 1911 I had the idea of
making for my son, who had just
been born, a blanket composed of
bits of fabric like those I had seen
in the houses of Ukrainian
peasants. When it was finished,
the arrangement of the pieces of
material seemed to me to evoke
cubist conceptions and we then
tried to apply the same process to
other objects and paintings
." Sonia Delaunay
Contemporary art critics recognize
this as the point where she moved
away from perspective and
naturalism in her art. Around the
same time, cubist works were
being shown in Paris and Robert
had been studying the colour
theories of Michel Eugène
Chevreul; they called their
experiments with colour in art and
design simultanéisme.
Simultaneous design occurs when
one design, when placed next to
another, affects both; this is
similar to the theory of colours
(Pointillism, as used by e.g.
Georges Seurat) in which primary
colour dots placed next to each
other are "mixed" by the eye and
affect each other. Sonia's first
large-scale painting in
this style was Bal Bullier (1912–13),
a painting known for both its use of
colour and movement.
The Delaunays' friend, the poet and
art critic Guillaume Apollinaire,
coined the term Orphism to
describe the Delaunays' version of
cubism in 1913. It was through
Apollinaire that in 1912 Sonia met
the poet Blaise Cendrars who was
to become her friend and
collaborator. Sonia Delaunay
described in an interview that the
discovery of Cendrars' work “gave
me [her] a push, a shock.”[2] She
illustrated Cendrars' poem La prose
du Transsibérien et de la Petite
Jehanne de France (Prose of the
Trans-Siberian and of Little Jehanne
of France) about a journey on the
Trans-Siberian Railway, by creating
a 2m-long accordion-pleated book.
Using simultaneous design
principles the book merged text
and design. The book, which was
sold almost entirely by
subscription, created a stir amongst
Paris critics. The simultaneous book
was later shown at the Autumn
Salon in Berlin in 1913, along with
paintings and other applied
artworks such as dresses, and it is
said who?

8. that Paul Klee was so impressed
with her use of squares in her
binding of Cendrars' poem that
they became an enduring feature
in his own work.
Spanish and Portuguese years
(1914-1920)
The Delaunays travelled to Spain
in 1914, staying with friends in
Madrid. At the outbreak of the
First World War in 1914 Sonia and
Robert were staying in Fontarabie,
with their son still in Madrid.
They decided not to return to
France. In August 1915 they
moved to Portugal where they
shared a home with Samuel
Halpert and Eduardo Viana.With
Viana
and their friends Amadeo
de Souza-Cardoso, whom the
Delaunays had already met in
Paris,[13] and José de Almada
Negreiros they discussed an
artistic partnership. In Portugal
she painted Marché au Minho
(the market at Minho, 1916),
which she later says was "inspired
by the beauty of
the country".Sonia had a solo
exhibition in Stockholm (1916).
The Russian Revolution brought an
end to the financial support Sonia
received from her family in Russia,
and a different source of income
was needed. In 1917 the Delaunays
met Sergei Diaghilev in Madrid.
Sonia designed costumes for his
production of Cleopatra (stage
design by Robert Delaunay) and for
the performance of Aida in
Barcelona. In Madrid she decorated
the Petit Casino (a nightclub) and
founded Casa Sonia, selling her
designs for interior decoration and
fashion, with a branch in Bilbao.She
was the center of a Madrid Salon.
Sonia Delaunay travelled to Paris
twice in 1920 looking for
opportunities in the fashion
business,[18] and in August she
wrote a letter to Paul Poiret stating
she wanted to expand her business
and include some of his designs.
Poiret declined, claiming she had
copied designs from his Ateliers de
Martine and was married to a
French deserter (Robert).[19]
Galerie der Sturm in Berlin showed
works by Sonia and Robert from
their Portuguese period the same
year

10. Return to Paris (1921-1944)
Sonia, Robert and their son
Charles returned to Paris
permanently in 1921 and moved
into Boulevard Malesherbes 19.
The Delaunays' most acute
financial problems
were solved when they sold Henri
Rousseau's La Charmeuse de
serpents (The Snake Charmer) to
Jacques Doucet. Sonia Delaunay
made clothes for private clients
and friends, and in 1923 created
fifty fabric designs using
geometrical shapes and bold
colours, commissioned by a
manufacturer from Lyon. Soon
after, she started her own business
and simultané became her
registered trademark.
For the 1923
staging of Tristan Tzaras play Le
Cœur à Gaz she designed the set
and costumes. In 1924 she opened
a fashion studio together with
Jacques Heim. Her customers
included Nancy Cunard, Gloria
Swanson, Lucienne Bogaert and
Gabrielle Dorziat.
With Heim she had a pavilion at
the 1925 Exposition Internationale
des Arts Décoratifs et Industriels
Modernes, called boutique
simultané. Sonia Delaunay gave a
lecture at the Sorbonne on the
influence of painting on fashion.
"If there are geometric forms, it is
because these simple and
manageable elements have
appeared suitable for the
distribution of colors whose
relations constitute the real object
of our search, but these geometric
forms do not characterize our art.
The distribution of colors can be
effected as well with complex
forms, such as flowers, etc. ... only
the handling of these would be a
little more delicate."
Sonia Delaunay, speaking at the
Sorbonne, 1927
Sonia designed costumes for two
films: Le Vertige directed by Marcel
L'Herbier and Le p'tit Parigot,
directed by René Le Somptier, and
designed some furniture for the set
of the 1929 film Parce que je t'aime
(Because I love you). During this
period, she also designed haute
couture textiles for Robert Perrier,
while participating actively in his
artistic salon, R-26.The Great
Depression caused a decline in
business. After closing her
business, Sonia Delaunay returned
to painting,

11. but she still designed for Jacques
Heim, Metz & Co, Perrier and
private clients.She said "the
depression liberated her from
business".1935 the Delaunays
moved to rue Saint-Simon 16.
By the end of 1934 Sonia was
working on designs for the 1937
Exposition Internationale des Arts
et Techniques dans la Vie
Moderne, for which she and
Robert worked together on
decorating
two pavilions: the Pavillon des
Chemins de Fer and the Palais de
l'Air. Sonia however did not
want to be part of the contract for
the commission, but chose to help
Robert if she wanted. She said "I
am free and mean to remain
so."The murals and painted panels
for the exhibition were executed
by fifty artists including Albert
Gleizes, Léopold Survage, Jacques
Villon, Roger Bissière and Jean
Crotti.
Robert Delaunay died of cancer in
October 1941.
Later life (1945-1979)
After the second world war, Sonia
was a board member of the Salon
des Réalités Nouvelles for several
years. Sonia and her son Charles in
1964 donated 114 works by Sonia
and Robert to the Musée National
d'Art Moderne. Alberto Magnelli
told her "she and Braque were the
only living painters to have been
shown at the Louvre In 1966 she
published Rythmes-Couleurs
(colour-rhythms), with 11 of her
gouaches reproduced as pochoirs
and texts by Jacques Damase,and in
1969 Robes poèmes (poem-
dresses), also with texts by Jacques
Damase containing 27 pochoirs.For
Matra, she decorated a Matra 530.
In 1975 Sonia was named an officer
of the French Legion of Honor.
From 1976 she developed a range
of textiles, tableware and jewellery
with French company Artcurial,
inspired by her work from the
1920s.Her autobiography, Nous
irons jusqu'au soleil (We shall go up
to the sun) was published in 1978.
Sonia Delaunay died December 5,
1979, in Paris, aged 94. She was
buried in Gambais, next to Robert
Delaunay's grave.
Her work in modern design
included the use of geometric
abstraction and the integration of
furniture, fabrics, wall coverings
and clothing.

12. Her son, Charles Delaunay, became an expert in jazz music during the
1930s. He was a jazz critic, organizer of jazz concerts and a founder of
The Hot Club of France (the first jazz club in France) and the first editor
of Jazz Hot Magazine, the club's official publication

13. 2nd Annual West Palm Beach Arts Festival
December 2 and 3, 2017
10

14. Mohammad Bozorgi
11

15. Mohammad Bozorgi
In keeping with the aesthetic
principles of Islamic art,
Mohammad Bozorgi maps his
compositions according to precise
mathematical structures and
symmetry, and never deviates
from the meaning of words
despite the innovation of his
script.
Born in Tehran in 1978, Bozorgi
was originally educated as a
biomedical engineer before
entering the visual arts with a
decade of training at the Society
of Iranian Calligraphers, where he
mastered a number of calligraphic
forms, and earned ‘Momtaz’
degrees. This robust background
has inspired Bozorgi to use the
directives of geometry to create
abstract illusions of depth and
space while developing stylised
characters based on Arabic and
Persian examples.
Recognised as a leading figure
among a ‘New Generation’ of
contemporary calligraphers,
Bozorgi
builds on the breakthroughs of
modern predecessors, as he seeks
to advance the art of calligraphy
through experimental formalism.
Within his meticulously designed
compositions, text multiplies as it is
infused with energy and appears to
move across the canvas or paper in
unison, originating from and
returning to the center like the
cyclical rhythms of nature.
Bozorgi has participated in recent
solo and group exhibitions at
Sharjah Calligraphy Biennial,
Sharjah (2016); Ayyam Gallery DIFC,
Dubai (2016); Ayyam Gallery Al
Quoz, Dubai (2015); Ayyam Gallery,
Jeddah (2014); Homa Gallery,
Tehran (2014); Galerie Nicolas
Flamel, Paris (2013); Kashya
Hildebrand Gallery, Zurich (2012);
Shirin Art Gallery, Tehran (2012);
and Endjavi-Barbé Art Projects,
Geneva (2012). His works are
housed in private and public
collections, including the Islamic
Arts Museum Malaysia.

17. Abdulnasser Gharem
14

18. Abdulnasser Gharem
(born 4 June 1973) is a Saudi
Arabian artist and also a
lieutenant colonel in the Saudi
Arabian army. In April 2011, his
installation Message/Messenger
sold for a world record price at
auction in Dubai.
Gharem's work is in the
collections of
the British Museum,
the Victoria & Albert Museum,
Los Angeles County Museum
of Art and the Saudi Arabian
Ministry of Culture and
Information, His artwork is
characterized by innovative use of
materials, including rubber
stamps, a collapsed bridge, and
an invasive tree
Early life and education
Gharem was born in Khamis
Mushait. In 1992 Gharem
graduated from
the King Abdulaziz Academy
before attending The Leader
Institute in Riyadh. He has had no
formal art training. In 2003 Gharem
studied at the Al-Meftaha Arts
Village in Abha.
Career
In 2004 Gharem and the Al-
Meftaha artists staged a group
exhibition, Shattah. in Saudi Arabia.
Since then Gharem has exhibited in
Europe, the Persian Gulf and the
United States, including at Martin
Gropius-Bau and at the Venice
Biennial, Sharjah Biennial and
Berlin Biennale.
His first monograph ‘Abdulnasser
Gharem: Art of Survival’ was
published in London in October
2011.
In 2014 Gharem lives and works in
Riyadh. He is the co-founder of the
arts initiative Edge of
Arabia.Gharem donated the
proceeds of his sale to Edge of
Arabia to foster art education in his
native country

20. CRAFTBOSTON SPRING 2018
SHOW DATES: April 20 – 22, 2018
Cyclorama at Boston Center for the Arts
CRAFTBOSTON HOLIDAY 2018
SHOW DATES: December 14-16, 2018
Hynes Convention Center in Boston
ABOUT CRAFTBOSTON
For 17 years, CraftBoston has been a nationally juried show drawing
craft enthusiasts from throughout New England. CraftBoston is a
biannual show and sale of fine contemporary craft and design. Both
CraftBoston Spring and CraftBoston Holiday unite talented makers with
passionate and knowledgeable shoppers throughout a weekend-long
event
17

21. The shows are produced by the Society of Arts + Crafts, America’s
oldest non-profit craft organization. The Society’s mission is to support
excellence in crafts by encouraging the creation, collection,
and conservation of the work of craft artists, and by educating and
promoting public appreciation of fine craftsmanship. The Society’s
mission is the heart of CraftBoston, where the artists’ success and an
educational experience for attendees are paramount. Visit
www.CraftBoston.org for more about our shows.
JURORS
Brian Ferrell: Furniture artist, Associate Professor of Art at Seton Hill
Janet Koplos: Co-author of Makers: A History of American Studio Craft
Brigitte Martin: Creator & editor of crafthaus, President of Society of
North American Goldsmiths.
Jury results announce end of October.
AWARDS
Between 7 and 10 artists exhibiting exemplary work in their respective
fields will receive a cash awards ranging from $250 - $500 at
CraftBoston Holiday. An independent juror will select the award
recipients from varying media categories. Each award winner will be
granted automatic entry into the following year’s shows. One artist will
also be selected to join the Fuller Craft Museum’s permanent
collection.

22. http://www.aziz_anzabi.com