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Lot Essay
Although having had a crucial role in the Iraqi modern art movement, Mahmoud Sabri’s part in history has unfairly been shadowed by the fact that he stood strongly against the many themes that the other artists of the time were exploring. As a rebel against the current political status of Iraq, Sabri wrote a manifesto in which he asserted his political stance against the fascist nature of the Ba’ath Party. This manifesto, and his constant agitation towards the party, ultimately led him to be exiled from Iraq. Sabri strappingly believed that the role of an artist directly correlates to engaging with social issues and mankind. He had left for Russia, which caused many to believe that he was pro-Communist, to study at the Surikov Institute of Art under the guidance of Soviet Russian Painter, Aleksandr Deyneka (1899-1969). Sabri’s early work had always been considered to be socially conscious and philanthropic, so it comes with no surprise that he was deeply inspired by the Soviet Socialist Russian style while living in Russia.
Born in Baghdad in 1927, he left for England in his twenties to complete his studies in social sciences, a topic which would later have a major influence on his work. During his time in the United Kingdom, he attended evening art classes, discovering a strong interest in art. When he returned to Iraq, he started working at the largest national bank, Al Rafdain Bank but he soon moved back to Russia in 1961 and later relocated to Prague in 1963 where he joined the Committee for the Defense of the Iraqi People. During his time in Prague, his paintings focused on the agony of the people under the regime.
Although he was considered an outcast in the discussion of the modern art movement in Iraq, Sabri took many initiatives in the realms of contemporary art in the Middle East. In his work, Sabri portrays the hardships of the Iraqi people; however unlike his contemporaries he would describe his political and existential agony towards the situation in Iraq. This induced him to treat his work about the social status with pain, dispute, and resentment. The impressive composition offered for sale in this auction could be related to his funeral series dedicated to Ahmed Saleh, in which he depicted the sadness of losing someone to such a pitiful situation; a larger work from the same artist and period was sold by Christie's Dubai in March 2017. This representation starts with the way he approaches the look in the subjects’ eyes. Filled with anguish, the characters, three women, who resemble The Holy Women - the Three Mary’s, the Virgin Mary, Mary Magdalena, and Mary of Bethany - and a child, are mourning the loss of a young man. Reminiscent of the popular Descent from the Cross theme tackled in many ways in Christian iconography, Sabri was undoubtedly influenced by some aspects of Western culture. Who seems to be the deceased’s mother, is bent over, hugging him whilst looking up towards him as if the last glimpse of hope is fleeting from her soul. The woman on the left throws her head back while grabbing her face in distress. The third woman, who could be considered the martyr’s wife, is holding a child close to her. Too young to understand, the look in the child’s eyes is both confusion and sadness.
Born in Baghdad in 1927, he left for England in his twenties to complete his studies in social sciences, a topic which would later have a major influence on his work. During his time in the United Kingdom, he attended evening art classes, discovering a strong interest in art. When he returned to Iraq, he started working at the largest national bank, Al Rafdain Bank but he soon moved back to Russia in 1961 and later relocated to Prague in 1963 where he joined the Committee for the Defense of the Iraqi People. During his time in Prague, his paintings focused on the agony of the people under the regime.
Although he was considered an outcast in the discussion of the modern art movement in Iraq, Sabri took many initiatives in the realms of contemporary art in the Middle East. In his work, Sabri portrays the hardships of the Iraqi people; however unlike his contemporaries he would describe his political and existential agony towards the situation in Iraq. This induced him to treat his work about the social status with pain, dispute, and resentment. The impressive composition offered for sale in this auction could be related to his funeral series dedicated to Ahmed Saleh, in which he depicted the sadness of losing someone to such a pitiful situation; a larger work from the same artist and period was sold by Christie's Dubai in March 2017. This representation starts with the way he approaches the look in the subjects’ eyes. Filled with anguish, the characters, three women, who resemble The Holy Women - the Three Mary’s, the Virgin Mary, Mary Magdalena, and Mary of Bethany - and a child, are mourning the loss of a young man. Reminiscent of the popular Descent from the Cross theme tackled in many ways in Christian iconography, Sabri was undoubtedly influenced by some aspects of Western culture. Who seems to be the deceased’s mother, is bent over, hugging him whilst looking up towards him as if the last glimpse of hope is fleeting from her soul. The woman on the left throws her head back while grabbing her face in distress. The third woman, who could be considered the martyr’s wife, is holding a child close to her. Too young to understand, the look in the child’s eyes is both confusion and sadness.