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

1. Khaled Akil AZIZ ART
Turner
Sohrab
Sepehri
koorosh
shishegaran
June 2017

2. http://www.aziz-anzabi.com
Director: Aziz
Anzabi
Editor : Nafiseh
Yaghoubi
Translator : Asra
Yaghoubi
Research: Zohreh
Nazari
1-Sohrab Sepehri
5-Turner
15-Khaled Akil
18-koorosh shishegaran

3. Sohrab Sepehri
1

4. Sohrab Sepehri
October 7, 1928 – April 21, 1980
was a notable Iranian poet and a
painter.
He was born in Kashan, Iran. He is
considered to be one of the five
most famous Iranian poets who
have practiced modern poetry.
Other practitioners of this form
were Nima Youshij, Ahmad
Shamlou, Mehdi Akhavan-Sales,
and Forough Farrokhzad.
Sepehri was also one of Iran's
foremost modernist painters.
Well-versed in Buddhism,
mysticism and Western traditions,
he mingled the Western concepts
with Eastern ones, thereby creating
a kind of poetry unsurpassed in the
history of Persian literature. To him,
new forms were new means to
express his thoughts and feelings.
His poetry has been translated into
many languages including English,
French, Spanish, German, Italian,
Swedish, Arabic, Turkish and
Russian. An English translation of
his selected poems by Ali Salami
appeared in 2003.
Sepehri died in Pars hospital in
Tehran of leukemia. His poetry is
full of humanity and concern for
human values. He loved nature and
refers to it frequently.
Works
Hasht Ketab (Eight Books) 1976
The Death of Color 1951
The Life of Dreams 1953
Us nil, us a look Was not published
until 1977
Downpour of Sunshine 1958
East of Sorrow 1961
The Oasis of Now (1965) translated
by Kazim Ali with Mohammad Jafar
Mahallati, BOA Editions, 2013.
The Wayfarer 1966
The Green Space 1967

5. Bibliography
The Lover Is Always Alone. Trans.
Karim Emami. Tehran: Sokhan,
Sepehri, Sohrab, and Riccardo
Zipoli. While poppies bloom:
Poems and Panoramas. Trans.
Karim Emami. Tehran: Zarrin-o-
Simin Books, 2005.
Bidi, Hamed. "Where Are My
Shoes?" While Poppies Bloom. 12
Oct 2006. 24 Oct 2000
Valiabdi, Mostafa.
Hichestan.Tehran: Tiam, 2005.
Karimi-Hakkak, Ahmad. Hasht
Ketab: Professor Hakkak's view on
the Sepehri's esthetic vision and
significance.United States: Ketabe
Gooya, 2005.
Sepehri, Parvaneh. The Blue Room.
Tehran: Gooya, 2003.
Sepehri, Paridokht.
Wherever I am, let me be! Tehran:
Peykan, 2005.
Sayar, Pirouz. Paintings and
Drawings Of Sohrab Sepehri.
Tehran: Soroush Press, 2002.
Sepehri, Paridokht. Sohrab, the
Migratory Bird. Tehran: Tahouri,
1996.
Hamid Siahpoush. The Lonely
Garden: Sohrab Sepehri's
Remembrance. Tehran: Negah,
2003.
Sohrab Sepehri's life timeline
Born in 1928 – Kashan – Iran
He hosted a painting exhibition -
Tehran 1944
He published his first poetry book
that followed by a few other books
in the same year - 1951
He graduated from the fine arts
university with B.A. degree in
painting - Tehran – 1953
He translated some Japanese
poetry into Persian and published
them in a literary magazine called
Sokhan – 1955
He traveled to Paris and attended
the Paris Fine Arts School in
lithography – 1957
He traveled to Tokyo to further his
studies in lithography and wood
carving – 1960
On the way back to Iran from
Japan, he visited India and became
familiar with the ideology of
Buddhism – 1961

6. He published three books in poetry – 1960
He traveled to India again and visited several cities and provinces –
1964
He traveled to Pakistan and Afghanistan 1964
He traveled to Europe and visited several countries such as
Germany,England,France,Spain,the Netherlands,Italy and Austria –
1966
He published some long poems after he returned to Iran – 1966
He hosted a painting exhibition in Tehran 1967
He published another book in poetry 1967
He traveled to Greece and Egypt – 1974
He published his final book called ‘Hasht Ketab' (Eight Books), which
was the collection of almost all of his published poems in one volume –
1976
He got Leukemia and traveled to England for treatment – 1978
Unfortunately, his attempt to defeat cancer brought him no result. He
returned to Iran and died in Pars Hospital in Tehran on Monday April
21, 1980.

7. TURNER
5

8. Joseph Mallord William Turner
Baptised 14 May 1775 – 19
December 1851 was an English
Romanticist landscape painter.
Turner was considered a
controversial figure in his day,
but is now regarded as the artist
who elevated landscape painting
to an eminence rivalling history
painting.
Although renowned for his oil
paintings, Turner is also one of the
greatest masters of British
watercolour landscape painting.
He is commonly known as "the
painter of light"
Biography
Early life
Joseph Mallord William Turner
was baptised on 14 May 1775,
but his date of birth is unknown.
It is generally believed he was
born between late April and early
May. Turner himself claimed he
was born on 23 April, but there is
no proof. He was born in Maiden
Lane, Covent Garden, in London,
England. His father, William Turner
(1745–21 September 1829), was a
barber and wig maker. His mother,
Mary Marshall, came from a family
of butchers.A younger sister, Mary
Ann, was born in September 1778
but died in August 1783.
In 1785, due to his mother showing
signs of the mental disturbance for
which she was admitted first to St
Luke's Hospital for Lunatics in Old
Street in 1799 and then Bethlem
Hospital in 1800,where she died in
1804, the young Turner was sent to
stay with his maternal uncle,
Joseph Mallord William Marshall, in
Brentford, then a small town on the
banks of the River Thames west of
London. The earliest known artistic
exercise by Turner is from this
period—a series of simple
colourings of engraved plates from
Henry Boswell's Picturesque View
of the Antiquities of England and
Wales Around 1786, Turner was
sent to Margate on the north-east
Kent coast. Here he produced a
series of drawings of the town and
surrounding area foreshadowing his
later work. Turner returned to
Margate many times in later life.By
this time, Turner's drawings were
being exhibited in his father's shop
window and sold for a few shillings.

9. His father boasted to the artist
Thomas Stothard that:
"My son, sir, is going to be a
painter." In 1789, Turner again
stayed with his uncle who had
retired to Sunningwell in
Berkshire (now part of
Oxfordshire). A whole sketchbook
of work from this time
in Berkshire survives as well as a
watercolour
of Oxford. The use of pencil
sketches on location, as the
foundation for later finished
paintings, formed the basis of
Turner's essential working style
for his whole career.
Many early sketches by
Turner were architectural
studies or exercises in perspective,
and it is known that, as a young
man, he worked for several
architects including Thomas
Hardwick, James Wyatt and
Joseph Bonomi the Elder.
By the end of 1789, he had also
begun to study under the
topographical draughtsman
Thomas Malton, specialised in
London views. Turner learned
from him the basic tricks of the
trade, copying and colouring
outline prints of British castles and
abbeys. He would later call Malton
"My real master".Topography was a
thriving industry by which a young
artist could pay for his studies. In
the same year of 1789 he entered
the Royal Academy of Art schools,
when he was 14 years old,and was
accepted into the academy a year
later. Sir Joshua Reynolds, president
of the Royal Academy, chaired the
panel that admitted him. At first
Turner showed a keen interest in
architecture, but was advised by
the architect Thomas Hardwick to
continue painting. His first
watercolour painting A View of the
Archbishop's Palace, Lambeth was
accepted for the Royal Academy
summer exhibition of 1790 when
Turner was 15.
As a probationer in the academy,
he was taught drawing from plaster
casts of antique sculptures. From
July 1790 to October 1793, his
name appears in the registry of the
academy over a hundred times.In
June 1792, he was admitted to the
life class to learn to draw the
human body from nude models.

10. Turner exhibited watercolours
each year at the academy while
painting in the winter and
travelling in the summer widely
throughout Britain, particularly to
Wales, where he produced a wide
range of sketches for working up
into studies and watercolours.
These particularly focused on
architectural work, which utilised
his skills as a draughtsman.
In 1793, he showed the
watercolour titled The Rising
Squall – Hot Wells from
St Vincent's Rock Bristol, which
foreshadowed his later climatic
effects.Cunningham in his obituary
of Turner wrote that it was:
"recognised by the wiser few as a
noble attempt at lifting landscape
art out of the tame
insipidities.evinced for the first
time that mastery of effect for
which he is now justly celebrated."
In 1796, Turner exhibited
Fishermen at Sea, his first oil
painting at the academy, of a
nocturnal moonlit scene of the
Needles off the Isle of Wight. The
image of boats in peril contrasts
the cold light of the moon with the
firelight glow of the fishermen's
lantern. Wilton said that the image:
"Is a summary of all that had been
said about the sea by the artists of
the 18th century."and shows strong
influence by artists such as Claude
Joseph Vernet, Philip James de
Loutherbourg, Peter Monamy and
Francis Swaine, who was admired
for his moonlight marine paintings.
This particular painting cannot be
said to show any influence of
Willem van de Velde the Younger,
as not a single nocturnal scene is
known by that painter. Some later
work, however, was created to rival
or complement the manner of the
Dutch artist. The image was praised
by contemporary critics and
founded Turner's reputation, as
both an oil painter and a painter of
maritime scenes.
Personal life
As Turner grew older, he became
more eccentric. He had few close
friends except for his father, who
lived with him for 30 years and
worked as his studio assistant. His
father's death in 1829 had a
profound effect on him, and
thereafter he was subject to bouts
of depression. He never married
but had a relationship with an older
widow, Sarah Danby..

12. He is believed to have been the
father of her two daughters
born in 1801 and 1811
Later, he had a relationship with
Sophia Caroline Booth after her
second husband died, living for
about 18 years as 'Mr Booth'
in her house in Chelsea.
Like many of the day, Turner was a
habitual user of snuff; in 1838 the
King of France, Louis-Philippe,
presented a gold snuff box to him.
Of two other snuffboxes, an agate
and silver example bears Turner's
name, and another,
made of wood, was collected
along with his spectacles,
magnifying glass and card case by
an associate housekeeper.
Style
Turner's talent was recognised
early in his life. Financial
independence allowed Turner to
innovate freely; his mature work
is characterised by a chromatic
palette and broadly applied
atmospheric washes of paint.
According to David Piper's The
Illustrated History of Art, his later
pictures were called "fantastic
puzzles." Turner was recognised
as an artistic genius: influential
English art critic John Ruskin
described him as the artist who
could most "stirringly and truthfully
measure the moods of Nature."
Suitable vehicles for Turner's
imagination were found in
shipwrecks, fires (such as the
burning of Parliament in 1834, an
event which Turner rushed to
witness first-hand, and which he
transcribed in a series of
watercolour sketches), natural
catastrophes, and natural
phenomena such as sunlight,
storm, rain, and fog. He was
fascinated by the violent power of
the sea, as seen in Dawn after the
Wreck (1840) and The Slave Ship
(1840).
Turner's major venture into
printmaking was the Liber
Studiorum (Book of Studies),
seventy prints that he worked on
from 1806 to 1819. The Liber
Studiorum was an expression of his
intentions for landscape art. The
idea was loosely based on Claude
Lorrain's Liber Veritatis (Book of
Truth), where Claude had recorded
his completed paintings; a series of
print copies of these drawings, by
then at Devonshire House, had
been a huge publishing success.

13. Turner's plates were meant to be
widely disseminated, and
categorised the genre into six
types: Marine, Mountainous,
Pastoral, Historical, Architectural,
and Elevated or Epic Pastoral. His
printmaking was a major part of
his output, and a museum is
devoted to it, the Turner Museum
in Sarasota, Florida, founded in
1974 by
Douglass Montrose-Graem to
house his collection of Turner
prints.
Turner placed human beings in
many of his paintings to indicate
his affection for humanity on the
one hand, but its vulnerability and
vulgarity amid the 'sublime' nature
of the world on the other. 'Sublime'
here means awe-inspiring, savage
grandeur, a natural world
unmastered by man, evidence of
the power of God – a theme that
romanticist artists and poets were
exploring in this period. To Turner,
light was the emanation of God's
spirit and this was why he focused
the subject matter of his later
paintings by leaving out
distractions such as solid objects
and detail, concentrating on the
play of light on water, the radiance
of skies and
fires. Although these late paintings
appear to be 'impressionistic' and
therefore a forerunner of the
French school, Turner was striving
for expression of spirituality in the
world, rather than responding
primarily to optical phenomena.
His early works, such as Tintern
Abbey (1795), stayed true to the
traditions of English landscape.
However, in Hannibal Crossing the
Alps (1812), an emphasis on the
destructive power of nature had
already come into play. His
distinctive style of painting, in
which he used watercolour
technique with oil paints, created
lightness, fluency, and ephemeral
atmospheric effects.
High levels of volcanic ash (from
the eruption of Mt. Tambora) in the
atmosphere during 1816, the "Year
Without a Summer", led to
unusually spectacular sunsets
during this period, and were an
inspiration for some of Turner's
work.
John Ruskin says in his "Notes" on
Turner in March 1878, that an early
patron, Dr Thomas Monro, the
Principal Physician of Bedlam, and
also a collector and amateur artist,

14. was a significant influence on
Turner's style
His true master was Dr Monro; to
the practical teaching of that first
patron and the wise simplicity of
method of watercolour study, in
which he was disciplined by him
and companioned by his friend
Girtin, the healthy and constant
development of the greater power
is primarily to be attributed; the
greatness of the power itself, it is
impossible to over-estimate
In his later years he used oils ever
more transparently, and turned to
an evocation of almost pure light
by use of shimmering colour. A
prime example of his mature style
can be seen in Rain, Steam and
Speed – The Great Western
Railway,
where the objects are barely
recognisable. The intensity of hue
and interest in evanescent light
not only placed Turner's work in
the vanguard of English painting,
but exerted an influence on art in
France; the Impressionists,
particularly Claude Monet,
carefully studied his techniques.
Turner used pigments like carmine
in his paintings, knowing that they
were not long-lasting, despite the
advice of contemporary experts to
use more durable pigments. As a
result, many of his colours have
now faded greatly. John Ruskin
complained at how quickly Turner's
work decayed; Turner was
indifferent to posterity and chose
materials that looked good when
freshly applied.By 1930 there was
concern that both his oils and his
watercolours were fading.
Together with a number of young
artists Turner was able, in the
London house of Dr. Monro, to
copy works of the major
topographical draughtsmen of his
time and perfect his skills in
drawing. But the curious
atmospherical effects and illusions
of the watercolours of John Robert
Cozens, some of which were
present in Monro's house, went far
further than the neat renderings of
topography. The solemn grandeur
of his Alpine views were an early
revelation to the young artist and
showed him the true potential of
the watercolour medium,
conveying mood instead of
information.

15. On a trip to Europe, circa 1820,
he met the Irish physician Robert
James Graves. Graves was
travelling in a diligence in the
Alps when a man who looked
like the mate of a ship got in, sat
beside him, and soon took
from his pocket a note-book
across which his hand from
time to time passed with the
rapidity of lightning. Graves
wondered if the man was insane,
he looked, saw that the stranger
had been noting the forms of
clouds as they passed and that he
was no common artist. The two
travelled and sketched together
for months. Graves tells that
Turner would outline a scene, sit
doing nothing for two or three
days, then suddenly, "perhaps on
the third day, he would exclaim
'there it is', and seizing his colours
work rapidly till he had noted
down the peculiar effect he
wished to fix in his memory."
The first American to buy a Turner
painting was James Lenox of New
York City, a private collector. Lenox
wished to own a Turner and in 1845
bought one unseen through an
intermediary, his friend C. R. Leslie.
shipped the 1832 atmospheric
seascape Staffa, Fingal's
Cave.Worried about the painting's
reception by Lenox, who knew
Turner's work only through
etchings, Leslie wrote to Lenox that
the quality of Staffa, "a most poetic
picture of a steam boat" would
become apparent in time. On
receiving the painting Lenox was
baffled, and "greatly disappointed"
by what he called the painting's
"indistinctness". When Leslie was
forced to relay this opinion to
Turner, Turner said "You should tell
Mr Lenox that indistinctness is my
forte." Staffa, Fingal's Cave is now
owned by the Yale Center for
British Art.

17. KHALED AKIL 15

18. Khaled Akil
is a Syrian Fine-art photographer
and mixed media artist, born in
Aleppo city, his work focuses
primarily on critiquing war, religion
and social turmoil in the Middle
East.He is best known for his
controversial topics pointing out
taboos in Islamic and Middle
Eastern societies.
Biography
Khaled Akil was born in Aleppo,
Syria, to a family with a long
history of artistic and political
influence. His father is the
renowned painter Youssef Akil.His
great maternal grandfather is the
Syrian author and historical figure
Abd al-Rahman al-Kawakibi.
Khaled’s first exhibition was held
in 2009, when at the time he was
completing his bachelor's
degree in Law.His experience
in law, politics and human rights
played a major role in his artistic
development and projections.
Most of his works deal with topics
related to the social, political, and
religious discrepancies he
witnessed around the region.
In 2012, he held a solo exhibition
“The Legend of Death” in Istanbul,
where he resides today due to the
escalation of the war in Syria.
Technic
His work is a hybrid of photography
and painting, with a digital final
product. various layers, created in
direct relation with the
photographic work and the issue
presented.
What one sees when looking into
Akil's images is a dual universe
wherein creatures and symbols
merge with the visual fragments of
war and abandonment.
Khaled Akil subjects his original
photographs to countless layers of
manual intervention that ultimately
result in digital prints. With their
mixture of photography, painting,
and sometimes Arabic calligraphy,
the dense surfaces of the works
make them expressive and strongly
palpable.

19. Solo Exhibitions
2017 Stanford University, California U.S
2013 Chalabi Art Gallery, Istanbul, Turkey
2012 Lahd Gallery, London, UK
2011 Karma Art Gallery, Aleppo, Syria
2010 Mustafa Ali Art Foundation. Damascus, Syria
2009 Sarmad Art Gallery, Aleppo, Syria
Group Exhibitions
2016 Exhibited in Flight, West Branch Gallery, Stowe, Vermont, U.S.
Exhibited in Anna&Mark art fair San Jose, California. Exhibited in
Catharsis , Gaya Art Gallery, Sidi Bou Said.
2015 Exhibited in International Discoveries V, FotoFest, Houston, Texas,
United States.Exhibited in Woman Through The Eyes- Tajallyat Art
Gallery, Beirut. Exhibited in In-Quest, Gaya Art Gallery, Sidi Bou Said.
Exhibited in Voices from the Middle East, Art in Exile Festival,
Washington, D.C.
2009 Exhibited in From Aleppo with Love, Le Pont Gallery, Aleppo, Syria

20. koorosh shishegaran
18

21. Koorosh Shishegaran
was born in Qazvin in 1944, but
then moved to Tehran with his
family. He finished elementary
school in Tehran and
then admitted to the School
of Fine Arts and continued his
academic studies at the Faculty of
Decorative Arts – Art University –
receiving a BFA in Interior Design.
His experiment in art is not
confined to the style he uses in
creating paintings today. What
follows is a cursory look at
Koorosh Shishegaran’s artistic
career.
Koorosh Shishegaran has
participated in numerous group
exhibitions and biennials in Iran
and abroad. His last solo exhibition
was in Opera Gallery, London
(2012). International group
exhibitions that stand out include
Wash Art in Washington (1977),
Basel, Switzerland (1978),
Millennium Painting Exhibition in
London (1999), Exhibition of Iranian
Art in Rome (2000), Meridian
International Center, USA (2001-
2003), Barbican Art Center, London
(2001), Beijing International
Biennial (2003), Opera Gallery,
London (2013). With the opening
up of international auction houses
to Iranian art in recent years,
numerous works of the artist have
been sold in these auctions.

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