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拍品專文
Fateh Moudarres is one of the most iconic artists of the Arab world, particularly for Syrian Modern history and Levantine art movements. Purely abstracted works such as the present work by the artist are extremely rare, making this work, with its evocative palette and expressionist stylization a coveted earlier work. A celebrated painter, musician, critic, poet and writer, Moudarres' style and technique are widely admired and instantly recognisable. Resurrecting Assyrian, Sumerian and Babylonian figurative styles, he applied this to his own artistic language, depicting compositions full of symbolism envisioned in his figures, forms and colours as musical compositions. Reflecting the socio-political climate of Syria in the twentieth century and themes of his personal life and experience, his works give insight into the artist’s state of mind and life history.
The present work is a testament to Moudarres’ experimentations in figures and shapes, painted only three years after graduating from the Accademia di Belle di Roma in 1960. Although a few hints of figuration in the painting, their outlines are kept deliberately unclear, giving the impression of the luminous effect of stained glass. As opposed to his later works, in this present example the square shapes are less defined with a softer touch, loosely floating within the composition as opposed to the striking outlines and sense of containment and separation felt in other works. Utilizing a much more expressionist style, while containing signature square shaped figures. Moudarres’ figuration is akin to his stylized stacked squares, recalling the Syrian village of Maaloula where houses are compartmentalised and constructed on top of each other as well as the Assyrian statuary and the figures discovered on the Palmyrene frescoes. As such, the abstract squares hint at the influence of Christian iconography and are simultaneously reminiscent of Mamluk buildings that alternate layers of black basalt and ochre-coloured stones.
With variations of reds and blues within his palette, he represents passion and the love for family and the unity of his people. The spectrum of colours of darker colour blocks with lighter white squares complement each other well and make the composition less fiery and rather calm and serene. A discernable narrative and testimony about family and kinship, its aesthetics are however closely linked to Syrian history and culture.
Constantly referencing history as well as his cultural and religious heritage, Moudarres portrays many facets of Syrian life throughout his works. It is this same assimilation of references that have become his signature style in time. Painted earlier in his career, it is to note that his works would become more solemn and rigid following the Arab defeat in Arab Israeli war in 1967 taking a political undertone of the overwhelming sense of loss felt to his country.
The present work is a testament to Moudarres’ experimentations in figures and shapes, painted only three years after graduating from the Accademia di Belle di Roma in 1960. Although a few hints of figuration in the painting, their outlines are kept deliberately unclear, giving the impression of the luminous effect of stained glass. As opposed to his later works, in this present example the square shapes are less defined with a softer touch, loosely floating within the composition as opposed to the striking outlines and sense of containment and separation felt in other works. Utilizing a much more expressionist style, while containing signature square shaped figures. Moudarres’ figuration is akin to his stylized stacked squares, recalling the Syrian village of Maaloula where houses are compartmentalised and constructed on top of each other as well as the Assyrian statuary and the figures discovered on the Palmyrene frescoes. As such, the abstract squares hint at the influence of Christian iconography and are simultaneously reminiscent of Mamluk buildings that alternate layers of black basalt and ochre-coloured stones.
With variations of reds and blues within his palette, he represents passion and the love for family and the unity of his people. The spectrum of colours of darker colour blocks with lighter white squares complement each other well and make the composition less fiery and rather calm and serene. A discernable narrative and testimony about family and kinship, its aesthetics are however closely linked to Syrian history and culture.
Constantly referencing history as well as his cultural and religious heritage, Moudarres portrays many facets of Syrian life throughout his works. It is this same assimilation of references that have become his signature style in time. Painted earlier in his career, it is to note that his works would become more solemn and rigid following the Arab defeat in Arab Israeli war in 1967 taking a political undertone of the overwhelming sense of loss felt to his country.