AzizArt Novamber2016

Khosrow Hassanzadeh

Guity Novin

Lucian Michael Freud

Btes Museum of Art

Iran Ardabil

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

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2-Khosrow Hassanzadeh 5-Lucian Michael Freud 15-Guity Novin 19-Ardabil

Khosrow Hassanzadeh born 1963 in Tehran is an Iranian painter. He is known for his "Terrorist" collection. Hassanzadeh was born in 1963 in Tehran, to a working class Azerbaijani family and currently lives and works in Tehran, where he works as an actor and visual artist. His work featured in many exhibitions in Europe and the Middle East. Hassanzadeh works primarily with painting, silkscreen and mixed media. His works often deal with issues that are considered sensitive in Iranian society and therefore he is frequently referred to as a 'political' artist. Hassanzadeh first gained international recognition with War (1998), a grim and trenchant diary of his own experiences as a volunteer soldier during the Iran-Iraq war (1980–1988). In Ashura (2000) a 'women-friendly' interpretation of the most revered Shiite religious ceremony, he depicted chador-clad women engulfed by religious iconography.

Chador (2001) and Prostitutes (2002) continued his exploration of sociological themes particular to Iran's hyper-gendered urban landscape. The latter paintings used police mug shots to pay tribute to sixteen prostitutes killed by a serial killer in Mashhad, a religious capital of Iran. The paintings were created after filmmaker Maziar Bahari commissioned Hassanzadeh to create a poster for his film, And Along Came a Spider. In Terrorist (2004) the artist questions the concept of 'terrorism' in international politics by portraying himself, his mother and sisters as 'terrorists'. He studied painting at Mojtama-e-Honar University (1989–91) and Persian Literature at Azad University (1995–99), both in Tehran. Khosrow Hassanzadeh has had solo shows in Amsterdam, Beirut, Dubai, London, Phnom Penh, and Tehran. His work is held by the British Museum, the Tehran Museum of Contemporary Art, the World Bank and the Tropenmuseum.

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Lucian Michael Freud 8 December 1922 – 20 July 2011 was a German-born British painter and draftsman, specialising in figurative art, and is known as one of the foremost 20th-century portraitists. He was born in Berlin, the son of a Jewish architect and the grandson of Sigmund Freud. His family moved to Britain in 1933 to escape the rise of Nazism. From 1932-33 he attended Goldsmiths College, London. He enlisted in the Merchant Navy during World War II. His early career as a painter was influenced by surrealism, but by the early 1950s his often stark and alienated paintings tended towards realism. Freud was an intensely private and guarded man, and his paintings, completed over a 60-year career, are mostly of friends and family. They are generally somber and thickly impastoed, often set in unsettling interiors and city scapes. The works are noted for their

psychological penetration and often discomforting examination of the relationship between artist and model. Freud worked from life studies, and was known for asking for extended and punishing sittings from his models. Early life and family Born in Berlin, Freud was the son of a German Jewish mother, Lucie (née Brasch), and an Austrian Jewish father, Ernst L. Freud, an architect.He was a grandson of Sigmund Freud, and elder brother of the broadcaster, writer and politician Clement Freud (thus uncle of Emma and Matthew Freud) and the younger brother of Stephan Gabriel Freud. The family emigrated to St John's Wood, London, in 1933 to escape the rise of Nazism. Lucian became a British subject in 1939, having attended Dartington Hall School in Totnes, Devon, and later Bryanston School, for a year before being expelled due to disruptive behaviour.

Early career Freud briefly studied at the Central School of Art in London, and from 1939 to 1942 with greater success at Cedric Morris' East Anglian School of Painting and Drawing in Dedham, relocated in 1940 to Benton End, a house near Hadleigh, Suffolk. He also attended Goldsmiths' College, part of the University of London, in 1942–43. He served as a merchant seaman in an Atlantic convoy in 1941 before being invalided out of service in 1942.In 1943, the poet and editor Meary James Thurairajah Tambimuttu commissioned the young artist to illustrate a book of poems by Nicholas Moore entitled The Glass Tower. It was published the following year by Editions Poetry London and comprised, among other drawings, a stuffed zebra and a palm tree. Both subjects reappeared in The Painter's Room on display at Freud's first solo exhibition in 1944 at the Alex Reid & Lefevre Gallery. In the summer of 1946, he travelled to Paris before continuing to Greece for several months to visit John Craxton. In the early fifties he was a

frequent visitor to Dublin where he would share Patrick Swift's studio. In late 1952, Freud and Lady Caroline Blackwood eloped to Paris where they married in 1953. He remained a Londoner for the rest of his life. Freud was part of a group of figurative artists later named "The School of London".This was more a loose collection of individual artists who knew each other, some intimately, and were working in London at the same time in the figurative style (but during the boom years of abstract painting). The group was led by figures such as Francis Bacon and Freud, and included Frank Auerbach, Michael Andrews, Leon Kossoff, Robert Colquhoun, Robert MacBryde, Reginald Gray and Kitaj himself. He was a visiting tutor at the Slade School of Fine Art of University College London from 1949 to 1954. Mature style Freud's early paintings, which are mostly very small, are often associated with German Expressionism (an influence he tended to deny) and Surrealism in depicting people,

plants and animals in unusual juxtapositions. Some very early works anticipate the varied flesh tones of his mature style, for example Cedric Morris (1940, National Museum of Wales), but after the end of the war he developed a thinly painted very precise linear style with muted colours, best known in his self-portrait Man with Thistle (1946, Tate) and a series of large-eyed portraits of his first wife, Kitty Garman, such as Girl with a Kitten (1947, Tate). These were painted with tiny sable brushes and evoke Early Netherlandish painting. From the 1950s, he began to focus on portraiture, often nudes (though his first full length nude was not painted until 1966), to the almost complete exclusion of everything else, and by the middle of the decade developed a much more free style using large hogs-hair brushes, concentrating on the texture and colour of flesh, and much thicker paint, including impasto. Girl with a white dog, 1951–1952, (Tate) is an example of a transitional work in this process, sharing many characteristics with paintings before and after it, with

relatively tight brushwork and a middling size and viewpoint. He would often clean his brush after each stroke when painting flesh, so that the colour remained constantly variable. He also started to paint standing up, which continued until old age, when he switched to a high chair.The colours of non-flesh areas in these paintings are typically muted, while the flesh becomes increasingly highly and variably coloured. By about 1960, Freud had established the style that he would use, with some changes, for the rest of his career. The later portraits often use an over life-size scale, but are of mostly relatively small heads or in half-lengths. Later portraits are often much larger. In his late career he often followed a portrait by producing an etching of the subject in a different pose, drawing directly onto the plate, with the sitter in his view. Freud's portraits often depict only the sitter, sometimes sprawled naked on the floor or on a bed or alternatively juxtaposed with something else, as in Girl With a White Dog (1951–52) and Naked Man With Rat (1977–78).According to Edward Chaney,

"The distinctive, recumbent manner in which Freud poses so many of his sitters suggests the conscious or unconscious influence both of his grandfather's psychoanalytical couch and of the Egyptian mummy, his dreaming figures, clothed or nude, staring into space until (if ever) brought back to health and/or consciousness. The particular application of this supine pose to freaks, friends, wives, mistresses, dogs, daughters and mother alike (the latter regularly depicted after her suicide attempt and eventually, literally mummy- like in death), tends to support this hypothesis." The use of animals in his compositions is widespread, and often he features a pet and its owner. Other examples of portraits with both animals and people in Freud's work include Guy and Speck (1980–81), Eli and David (2005–06) and Double Portrait (1985–86).

He had a special passion for horses, having enjoyed riding at school in Dartington, where he sometimes slept in the stables.His portraits solely of horses include Grey Gelding (2003), Skewbald Mare (2004), and Mare Eating Hay (2006). Wilting houseplants feature prominently in some portraits, especially in the 1960s, and Freud also produced a number of paintings purely of plants.Other regular features included mattresses in earlier works, and huge piles of the linen rags with which he used to clean his brushes in later ones.Some portraits, especially in the 1980s, have very carefully painted views of London roofscapes seen through the studio windows. Freud's subjects, who needed to make a very large and uncertain commitment of their time, were often the people in his life; friends, family, fellow painters, lovers, children. He said, "The subject matter is autobiographical, it's all to do with hope and memory and sensuality and involvement, really.

"However the titles were mostly anonymous, and the identity of the sitter not always disclosed; the Duke and Duchess of Devonshire had a portrait of one of Freud's daughters as a baby for several years before he mentioned who the model was. In the 1970s Freud spent 4,000 hours on a series of paintings of his mother, about which art historian Lawrence Gowing observed "it is more than 300 years since a painter showed as directly and as visually his relationship with his mother. And that was Rembrandt." Freud painted from life, and usually spend a great deal of time with each subject, demanding the model's presence even while working on the background of the portrait. A nude completed in 2007 required sixteen months of work, with the model posing all but four evenings during that time; with each session averaging five hours, the painting took approximately 2,400 hours to complete. A rapport with his models was necessary, and while at work, Freud was

characterised as "an outstanding raconteur and mimic". Regarding the difficulty in deciding when a painting is completed, Freud said that "he feels he's finished when he gets the impression he's working on somebody else's painting". Paintings were divided into day paintings done in natural light and night paintings done under artificial light, and the sessions, and lighting, were never mixed. It was Freud's practice to begin a painting by first drawing in charcoal on the canvas. He then applied paint to a small area of the canvas, and gradually worked outward from that point. For a new sitter, he often started with the head as a means of "getting to know" the person, then painted the rest of the figure, eventually returning to the head as his comprehension of the model deepened. A section of canvas was intentionally left bare until the painting was finished.The finished painting is an accumulation of richly worked layers of pigment, as well as months of intense observation.

Later career Freud painted fellow artists, including Frank Auerbach and Francis Bacon and produced a large number of portraits of the performance artist Leigh Bowery, and also painted Henrietta Moraes, a muse to many Soho artists. A series of huge nude portraits from the mid-1990s depicted the very large Sue Tilley, or "Big Sue", some using her job title of "Benefits Supervisor" in the title of the painting, as in his 1995 portrait Benefits Supervisor Sleeping, which in May 2008 was sold by Christie's in New York for $33.6 million, setting a world record auction price for a living artist. Freud's most consistent model in his later years was his studio assistant and friend David Dawson, the subject of his final, unfinished work.Towards the end of his life he did a nude portrait of model Kate Moss. Freud was one of the best known British artists working in a representational style, and was shortlisted for the Turner Prize in 1989 His painting After Cézanne, notable

because of its unusual shape, was purchased by the National Gallery of Australia for $7.4 million. The top left section of this painting has been 'grafted' on to the main section below, and closer inspection reveals a horizontal line where these two sections were joined. In 1996, the Abbot Hall Art Gallery in Kendal mounted a major exhibition of 27 paintings and thirteen etchings, covering Freud's output to date. The following year the Scottish National Gallery of Modern Art presented "Lucian Freud: Early Works". The exhibition comprised around 30 drawings and paintings done between 1940 and 1945.This was followed by a large retrospective at Tate Britain in 2002. In 2001, Freud completed a portrait of Queen Elizabeth II. There was criticism of the portrayal in some sections of the British media. The Sun was particularly condemnatory, describing the portrait as "a travesty". In 2005, a retrospective of Freud's work was held at the Museo Correr in Venice

scheduled to coincide with the Biennale. In late 2007, a collection of etchings went on display at the Museum of Modern Art. Freud died in London on 20 July 2011 and is buried in Highgate Cemetery. Archbishop Rowan Williams officiated at the private funeral Art market In 2008, Benefits Supervisor Sleeping (1995), a portrait of civil servant Sue Tilley, sold for $33.6 million – the highest price ever at the time for a work by a living artist. On 13 October 2011, his 1952 Boy's Head, a small portrait of Charlie Lumley, his neighbour, reached $4,998,088 at Sotheby's London Contemporary art evening auction, making it one of the highlights of the 2011 auction autumn season. At a Christie's New York auction in 2015, Benefits Supervisor Resting sold for $56.2 million

Personal life Freud is rumoured to have fathered as many as forty children although this number is generally accepted as an exaggeration. Fourteen children have been identified, two from Freud's first marriage and 12 by various mistresses. After an affair with Lorna Garman, he went on to marry, in 1948, her niece Kathleen "Kitty" Epstein, daughter of sculptor Jacob Epstein

and socialite Kathleen Garman. They had two daughters, Annie and Annabel Freud, and the marriage ended in 1952.Kitty Freud, later known as Kitty Godley (after her marriage in 1955 to economist Wynne Godley), died in 2011. Freud then began to see Guinness heiress and writer Lady Caroline Blackwood. They married in 1953 but divorced in 1959

Guity Novin (born Guity Navran, 1944) is an Iranian-Canadian figurative painter, and graphic designer residing in Canada.She classifies her work as Transpressionism, a movement she has introduced. Her works are in private and public collections worldwide. She has served on a UNESCO national committee of artists Early period 1970–1976 After graduating from the Faculty of Fine Arts with a BA in graphic design, Guity Novin was employed as a graphic designer in the Department of Graphic Arts at the Ministry of Culture and Arts (MCA) in Tehran, in 1970. However, as the first female graphic designer she immediately was confronted with various barriers and adversarial relationships. All the important posters were designed by the head of the department, who had at his disposal the services of many calligraphers, drawers, and other

designers. Guity responded by creating her own innovative posters outside the MCA and for the private sector. The young film makers of the Free Cinema of Iran, under the management of Basir Nasibi, commissioned her to design the cover of their first two books, as well as some of their posters. Pretty soon her posters and line drawings was reproduced on the cover of cultural magazines, such as Negin. She also began to design the cover of magazines like Zaman, and various literally periodicals such as Chaapar, and Daricheh.Fortunately for Guity, the late Hajir Darioush, a young new wave director of cinema, was assigned as the president of First International Film Festival of Tehran which was headquartered at the MCA. Noticing Guity's talent, Darioush invited her to join his team, and Guity produced the catalogs and posters of the festival.

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European period, 1975–1980 In 1975 Novin moved to The Hague, the Netherlands, studied at Vrije Academie voor Beeldende Kunsten, and exhibited in 1975 at Noordeinde Gallery. She named ths exhibition Melodious Spheres. She moved to Manchester, England, in 1976, exhibited her "In Essence" show at Didsbury Library and was selected in 1979 for the E.C.A Exhibition at National Theatre, London. She also participated in several group exhibitions. Early Canadian period, Kingston, Ottawa, and Montreal, 1980-84 Guity Novin in her Studio at Kingston Ontario, 1981 In 1980 Guity settled in Kingston, Ontario. Her first exhibition in 1981 at the Brock Street Gallery in Kingston was called Lost Serenade. The Whig-Standard magazine, published her work "Flute Player" on the cover its October 3, 1981 issue, Ottawa period 1984–1997 Guity spent 1983 in Montreal, and then in 1984 she and her family relocated to Ottawa, where she worked and exhibited until 1997.

With a couple of her artist friends, including Raku potters Huc Wee and Adrianne Lamoreaux, Novin established the Artex Gallery at the Byward market in Ottawa where she painted and exhibited her works. At the same time, she started to produce graphic art drawings for the Breaking the Silence, a feminist periodical. Her illustrations were published in Le Carnaval de la licorne (2001),and her work Pears in Blue was published in Abnormal Psychology.[18] Chapters bookstore exhibited her works in their main bookstore in Ottawa in 1995, and she participated in the National Capital Fine Art Festival at Aberdeen Pavilion, Landsdown park in March 1996.

Ardabil Sheikh Safi-od-Din Mausoleum

Ardabil Is an ancient city in Iranian Azerbaijan. Ardabil is the center of Ardabil Province. At the 2011 census, its population was 564,365, in 156,324 families, where the dominant majority are ethnic Iranian Azerbaijanis. Ardabil is known for its silk and carpet trade tradition. Ardabil rugs are renowned and the ancient Ardabil Carpets are considered some of the best of the classical Persian carpet creations. Ardabil is also known as the seat of a World Heritage Site: the Ardabil Shrine, the sanctuary and tomb of Shaikh Safî ad-Dîn, eponymous founder of the Safavid dynasty. History Shah Ismail The province is believed to be as old as the Achaemenid era (ca. 550–330 BCE). It is mentioned in the Avesta, where prophet Zoroaster was born by the river Aras and wrote his book in the Sabalan Mountains. During the Parthian era, the city had a special importance among the cities of Azarbaijan. Some Muslim historians

attribute the foundation of Ardabil to king Peroz I of the Sassanid Empire. The Persian poet Ferdowsi also credits the foundation of the city to Peroz I. Ardabil suffered some damages caused by occasional raids of Huns from the 4th to 6th century CE. Peroz repaired those damages and fortified the city. Peroz made Ardabil the residence of provincial governor of Azarbaijan. Due to its proximity to the Caucasus, Ardabil was always vulnerable to invasions and attacks by the mountain peoples of the Caucasus as well as by the steppe dwellers of South Russia past the mountains In 730-731, the Khazars managed to get past the Alan Gates, defeated and killed the Arab governor of Armenia named Al-Jarrah ibn Abdallah on the plain outside the town of Ardabil, and subsequently captured the town, as they continued their conquests. During the Islamic conquest of Iran, Ardabil was the largest city in north western Iran, ahead of Derbent,

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and remained so until the Mongol invasion period. Ardabilis fought the Mongols three times; however the city fell after the third attempt by Mongols, who massacred the Ardabilis. Incursions of Mongols and subsequently the Georgians, who, under Tamar the Great, captured and sacked the city with some 12,000 citizens reputedly killed, devastated the city. The city however recovered and was in a more blossoming state than before, though by this time the principal city in the Azerbaijan region had become Tabriz, and under the later Ilkhanate, it had become Soltaniyeh. Safavid king Ismail I, born in Ardabil, started his campaign to nationalize Iran's government and land from there, but consequently announced Tabriz as his capital in 1501. Yet Ardabil remained an important city both politically and economically until modern times. During the frequent Ottoman-Persian Wars, being close to the borders, it was often sacked by the Ottomans between 1514 and 1722 as well as in 1915 during World War

I when the former invaded neighboring Iran. In the early Qajar period, crown prince Abbas Mirza, son of then incumbent king Fath Ali Shah Qajar (r. 1797–1834) was the governor of Ardabil. With Ardabil already once being sacked by the Russians during the Russo-Persian War of 1804-1813, and this being the era of the Russians steadily advancing into the Iranian possessions in the Caucasus, Abbas Mirza ordered the Napoleonic general Gardane, who served the Qajars at the time, to strengthen and fortify the town with ramparts. During the next and final war, the Russo-Persian War of 1826-28, the ramparts were stormed by the Russian troops, who then temporarily occupied the town.The town's extensive and noted library, known as the library of Safi-ad-din Ardabili, was taken to St. Petersburg by General Ivan Paskevich on the feigned promise that it would be brought to the Russian capital in order to be kept safe until it could be returned; it was never returned.

After the Russo-Persian Wars, Ardabil re-prospered. With the town being only 40 kilometers situated from the new Russo-Iranian border imposed on Iran by the Treaty of Turkmenchay (1828) and the loss of its territories in the Caucasus, Ardabīl became a moreso important stop on a caravan route which was a major link for the importation of European goods from Russia into Iran.In 1872, when Max von Thielmann was in Ardabil, he noted in his published book of 1875 the extensive activity at the town's bazaar as well, as the presence of many foreigners in the town. He estimated its population at 20,000 During the early Iranian Constitutional Revolution, Ardabil as well as the rest of Iranian Azerbaijan were occupied by the Russians who stayed until the eventual collapse of the Russian Empire in 1917. Bazaars Main article: Ardabil Bazaar In the heart of the Ardabil city, this bazaar stands as old as the Islamic

period. Its shape was described by the historians of the 4th century CE as a cross, extending in four directions with simply designed domes. Most sections of the bazaar were constructed and renovated during the Safavid and Zand periods. Produce Bazar, Ardabil and vicinity This is the fresh produce bazaar on the Meshkin Shahr gate in the city of Ardabil. Vendors buy directly from farmers and distributors. Shrine and the Ardabil carpets One of the main sights in the city of Ardabil in north-west Iran is the shrine of Shaykh Safi al-Din Ardabili, who died in 1334. The Shaykh was a Sufi leader, who trained his followers in Islamic mystic practices. After his death, his followers remained loyal to his family, who became increasingly powerful. In 1501, one of his descendants, Shah Isma'il, seized political power. He united Iran for the first time in several centuries and established the Shi'i form of Islam as the state religion.

Isma'il was the founder of the Safavid dynasty, named after Shaykh Safi al-Din. The Safavids, who ruled without a break until 1722, and then intermittently until 1757, promoted the shrine of the Shaykh as a place of pilgrimage

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