Khaled Akil AZIZ ART

Turner

Sohrab Sepehri

koorosh shishegaran

June 2017

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Director: Aziz Anzabi Editor : Nafiseh Yaghoubi Translator : Asra Yaghoubi Research: Zohreh Nazari

1-Sohrab Sepehri 5-Turner 15-Khaled Akil 18-koorosh shishegaran

Sohrab Sepehri

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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

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

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.

TURNER

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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.

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.

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..

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.

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, :

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.

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. From among the paintings Turner had on hand and was willing to sell for £500, Leslie selected and

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.

KHALED AKIL 15

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.

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

koorosh shishegaran 18

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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