Visual art -Oil painting

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Information about Visual art -Oil painting
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Published on October 23, 2014

Author: azizanzabi



Visual art

1. Azizart Oil painting & sculpture To show social problems using Surrealism and Qajar art 2014 Aziz Grizli777 10/15/2014

2. Part of the The unknown world painting Oil painting & sculpture With Aziz’s paintings enter your world of imagination! A sample of Qajar art


4. Life that is forgotten In this painting I tried to show the Cause of migration of people or Self-imposed exile. The four people that have a disappeared face are the most Major world powers of the nation and the king is a sign of a Puppet government which for them the people’s life doesn't matter and they don't evaluate people’s life. They are all watching people fighting and they are like the watchers of a football match and don't care for their lives and what is happening in their lives. And the woman which is going with a suitcase and colourful balloons is a sign of her sweet wishes and with the thoughts and hopes she has she is leaving her country. I used a shadow the opposite way of her to show that even though she is leaving her roots and family are in her country for always Original Oil and Acrylic on Canvas 100cm x 100cm

5. Meeting with: Diego Rodríguez de Silva y Velázquez (Spanish pronunciation: baptized June 6, 1599 – August 6, 1660) was a Spanish painter who was the leading artist in the court of King Philip IV and one of the most important painters of the Spanish Golden Age. He was an individualistic artist of the contemporary Baroque period, important as a portrait artist. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family, other notable European figures, and commoners, culminating in the production of his masterpiece Las Meninas (1656). From the first quarter of the nineteenth century, Velázquez's artwork was a model for the realist and impressionist painters, in particular Édouard Manet. Since that time, famous modern artists, including Pablo Picasso, Salvador Dalí and Francis Bacon, have paid tribute to Velázquez by recreating several of his most famous works

6. Knowing more about Qajar art refers to the art, architecture, and art-forms of the Qajar dynasty of the late Persian Empire, which lasted from 1781 to 1925. The boom in artistic expression that occurred during the Qajar era was the fortunate side effect of the period of relative peace that accompanied the rule of Agha Muhammad Khan and his descendants. With his ascension, the bloody turmoil that had been the eighteenth century in Persia came to a close, and made it possible for the peacetime arts to again flourish. Qajar painting [Most notably, Qajar art is recognizable for its distinctive style of portraiture. Origins and influences The roots of traditional Qajar painting can be found in the style of painting that arose during the preceding Safavid empire. During this time, there was a great deal of European influence on Persian culture, especially in the arts of the royalty and noble classes. European art was undergoing a period of realism and this can be seen in the depiction of objects especially by Qajar artists. The European influence is very well evidenced in the preëminent position and prestige of oil painting. While oil paintings had been par for the course during previous periods of Persian art, it was the influence of the European masters, like Reubens and Rembrandt, the true masters of oil portraiture, that raised it to the highest level. Heavy application of paint and dark, rich, saturated colors are elements of Qajar painting that owe their influences directly to the European style.

7. Development of painting style While the depiction of inanimate objects and still lifes is seen to be very realistic in Qajar painting, the depiction of human beings is decidedly idealised. This is especially evident in the portrayal of Qajar royalty, where the subjects of the paintings are very formulaicly placed and situated to achieve a desired effect. Two panels of earthenware tiles painted with polychrome glazes over a white glaze. (19th) Royal portraiture Most famous of the Qajar artworks are the portraits that were made of the various Persian Shahs. Each ruler, and many of their sons and other relatives, commissioned official portraits of themselves either for private use or public display. The most famous of these are of course the myriad portraits which were painted of Fath Ali Shah Qajar, who, with his narrow waist, long black bifurcated beard and deepset eyes, has come to exemplify the Romantic image of the great Oriental Ruler. Many of these paintings were by the artist Mihr 'Ali. While the portraits were executed at various points throughout the life of the Shah, they adhere to a canon in which the distinctive features of the ruler are emphasized. Portraits exist of Fath Ali Shah in a very wide assortment of situations, from the armor-clad warrior king to the flower smelling gentleman, but all are similar in their depiction of the Shah, differing only slightly, usually due to the specific artist of the portrait. It is only appropriate that this particular Shah be so immortalized in this style, as it was under his rule as the second Qajar shah that the style truly flourished. One reason for this were the stronger and stronger diplomatic ties that the Qajar rulers were nurturing with European powers. While Fath Ali Shah himself never visited Europe, many portraits of him were sent with envoys in the effort to convey the imperial majesty of the Persian court. With the rise of Nassirudin Shah, photography became much more important in the art of the period, and portraiture, while still used for official purposes, fell gradually out of favor. In addition, as Nassirudin Shah was the first Persian ruler to visit Europe, the official

8. sending of portraits was left by the wayside, a relic of times gone by. Other portraiture The depiction of nonroyal persons also has a very important place in the explanation and understanding of Qajar art. While naturally not commoners, the subjects of these portraits were often minor princes (of which there were many!), the grandsons, nephews, and great-nephews of the ruling or previously ruling Shahs. These princes, with the wealth and position of their families, had very little else to do but contribute to the arts, so their patronage was certainly less than detrimental to the arts of the time. Often, portraits of this class would be commissioned as depictions of family groups, depicting the male, an idealized, nubile wife, and their perfectly formed child. Other times, they would be in the form of a royal portrait, depicting solely the male commissioner, but with subtle variations making it clear that the sitter is not a Royal. One way that this was accomplished was through a cartouche that was displayed next to the head of each portrait's subject, clarifying who was being depicted, and any relevant titles (such as Soltān, shāhzādeh, &c.). For the ruling head of Persia, this cartouche is fairly regulated, ("al-soltān Official name Shāh Qājār"), while for anyone else, it may include a longer name, a lesser title or a short genealogy. Depiction of women One of the most unusual practices in Qajar art is the depiction of women. In such a strongly Islamic society, it seems to contradict that view that the women of Qajar Persia are depicted in much art as wearing very little in the way of modest clothing. This is strikingly at odds with the prevalent use of the chādor (Persian: چادر , , lit. "tent") in Persia. Muqarna at the Nasir al-Mulk Mosque. Qavam—Ghavam House facade and balcony. "Kushk of Ahmad Shah" at the Niavaran Palace Complex. Calligraphy in the Qajar era[edit] Calligraphy is and has been the definitive Persian art form. There exists a prohibition in Islam against the depiction of human beings, similar to the Jewish rule against graven images, and as such, calligraphy and its associated art forms became a very important part of Islamic expression. Upon the introduction of the Arabic script to Persia, the people therein set themselves to making it their own. This is best evidenced in the creation of the Nasta'liq style of calligraphy, which is now used for most of the non-Arabic South Asian languages, such as Urdu and Kashmiri, as well as Punjabi.

9. The Shāhanshāhnāmeh painted tiles with design of birds, hunting and nice flowers from Qajar dynasty During the reign of Fath Ali Shah Qajar, a work of literature and art was commissioned that was intended to rival the work of Ferdowsi. This book was called the Shāhanshāhnāmeh (شاهنشاهنامه , lit. "Book of the King of Kings"). It is apparent to the scholar of Persian art and literature that this book is based upon the work of art known as the Shāhnāmeh ( شاهنامه , lit. "Book of Kings") which was written by Ferdowsi in the year 1000 . The Shahnameh, in brief, chronicles the quasi- mythical founding of the Persian Empire and the heroes and villains who punctuated its inception. Also, the Shahanshahnameh is related to a long tradition of Mughal literature, in the form of the Baburnameh and the Akbarnameh, similar books which chronicle the occurrences that punctuated the reigns of their respective Mughal Shahs. This Sahanshahnameh is now situated in the National Library of Vienna, Austria. Qajar textile arts The sartorial inclinations of the Qajar period were not so very different from those of earlier period until the latter half of the era. As is evidenced by the early portraiture of Fath Ali Shah Qajar and Mohammad Shah Qajar, the traditional styles of dress in Persia were preserved, but as Western influences became more and more prevalent, the royal portraits began to depict the Shah in a more Western, military style garb (such as the portrait of Nassirudin Shah Qajar above). This is not to say, however, that the traditional textile arts of Persia had fallen into disuse. While the Shah wished to appear advanced and western to European monarchs and diplomats, it was still his duty to exude the pride and ancient glory of the Persian Empire, so court dress retained very strong elements of traditional dress. One of the most unusual practices in Qajar art is the depiction of women. In such a strongly Islamic society, it seems to contradict that view that the women of Qajar Persia are depicted in much art as wearing very little in the way of modest clothing. This is strikingly at odds with the prevalent use of the chādor (Persian: چادر , , lit. "tent") in Persia.

10. The unknown world In this painting I tried to show the emotional feelings between men and women. The happiness inside some man's heart depends on women. When a drawer of a man's heart is open you can realize his feelings. Some people in the world enjoy of women all of the time and don’t think about anything else. They are unaware of social problems. In the left hand side of the painting there are people protest which are trying to achieve the goal of social and they accept the danger of the government. The person standing in the middle is the governor (solder) which is always looking at people to get them or arrest them to make other people think that he is a powerful person to make people scared of him Original Oil and Acrylic on Canvas 102cm x 102cm

11. Aziz Art Biography: Aziz Anzabi, original from Iran and London based, He was born in Tehran in 1970 and grew up between the Iraq and Iran's war and this has affected his art .He has finished his PHD degree in family counselling in Tehran His focus is art in sculpture and painting. Anzabi’s art have as main concept myths and rituals. Exploring these aspects and aiming for an unconscious emotional state within the viewer, Anzabi art takes form in both figurative and abstract styles. “My ultimate goal is to have the viewer feeling a sense of familiarity with the work, a sense of having experienced this before.” Anzabi art describes a fantasy that shelters the individual in order to lead him throughout life. With strong surreal influences, Anzabi creates a universe proclaiming harmony. Aziz Anzabi work has been displayed and purchased worldwide, from UK, USA, Spain, Italy and Dubai. Aziz Anzabi is also an academic, who also has written and produced books on the subjects of art such as mathematics, being previously a professor at Tehran University." Life Mind's eye is so powerful that it can visualize a lush green garden with flowing water just across a rugged desert. helpless man can do nothing but to take refuge in fantasies , exploiting dreams of his mature mind to lead him to throughout his life. Fantasies rapidly vanish into thin air. My fantasy is an complete universe, that every humankind can use their humanity. It is a wrong universe miscalculations about life right now . continually blaming my self for not sizing the day and for having to bid farewell to the departed one after the other. From dawn of creation, mankind has proclaimed the harmony "Look how clear water is falling down from between your fingers like the freedom that falls down from Humankind fingers!”

12. Statement Myths... Rituals. I have long been intrigued and fascinated by these concepts. In my sculptures and painting, both figurative and abstract, I employ these aspects of a collective unconscious to evoke an emotional state within the viewer. In my figurative work, my goal is to capture the myriad changing state of the human condition through subtle changes in facial countenance and body language. The end result shows how the inner condition is expressed by the outward form while also conveying a timeless quality to human emotion. In my abstract sculptures, I have recreated the numinous quality of subconsciously shared images, stories, and ceremonial rites. The sculptures, themselves, are composed of abstract forms that are covered with a rich, textural surface. The end result is a complex organic piece that evokes a sense of ancient artifacts, of ritualistic objects from some unknown culture, or of imagined landscapes. However, be it figurative or abstract, my ultimate goal is to have the viewer feel a sense of familiarity with the work...a sense of having experienced this before. I believe this feeling of arises from both the collective unconscious and a mystical center we all share.........................

13. Sad but true The problem of people living in Kiribati Island which is a country in the lowest point of earth in Pacific Ocean and is constantly going under the water because of the global warming and this country is going to be gone forever. I try to show this problem for the people the two hands are a symbol of natural hazards that cause human Suffering that human do this themselves and the conclusion is the ruining of earth that makes humans die. and the pieces of the mirror are a sign to show that it can happen to you (the reflection) Oil on canvas 102cm x 102cm

14. Beginning And End In this painting I tried to show after the industrial age humans started changing the majority in the world and these changes were good to human beings but not for nature. And when humans started creations and manipulation agent’s new problems and diseases around the world started. The horse and the elephant are a symbol of the earth changing in many different ways. The person who is leaning on the the horse’s leg is a meaning of people that think this change to nature is a support to them to live and it has to be there. When it only fits for humans and damages nature. In the sky there is two people a man and a woman which are going to opposite directions and they are a couple they have chosen to be separated from each other. This is because they had problems living their expectations from each other had gone higher because of the changes made on earth and they choose to be parted because they thought they should get a better living.The other people in the painting are the people who have their normal routine in life and don’t care about the changes made on earth. Original Oil on canvas 102cm x 102cm

15. Eye See You All Day In this painting I tried to show an eye of people that are aware of things around them and their feelings. The eye of the people is always aware of social problems. The people dropping off the eyes are peoples feelings about social problems that people see and their feelings drop down in different forms. On the left hand side the three soldiers are a sign of soldiers that help government which always are keeping the aware people save from the help of government without the government knowing. The eyelashes are like the jungle. The people in the world are living like a jungle Original Oil on canvas 66cm x 66cm

16. Meeting with... Salvador Domingo Felipe Jacinto Dalí i Domènech , 1st Marqués de Dalí de Pubol (May 11, 1904 – January 23, 1989), known as Salvador Dalí (Catalan pronunciation: ) was a prominent Spanish Catalan surrealist painter born in Figueres, Spain. Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters. His best-known work, The Persistence of Memory, was completed in August 1931. Dalí's expansive artistic repertoire included film, sculpture, and photography, in collaboration with a range of artists in a variety of media. Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes"to an "Arab lineage", claiming that his ancestors were descended from the Moors. Dalí was highly imaginative, and also enjoyed indulging in unusual and grandiose behavior. His eccentric manner and attention-grabbing public actions sometimes drew more attention than his artwork, to the dismay of those who held his work in high esteem, and to the irritation of his critics. Biography Early life The Dalí family in 1910: from the upper left, aunt Maria Teresa, mother, father, Salvador Dalí, aunt Catherine (later became second wife of father), sister Ana Maria and grandmother Ana Salvador Domingo Felipe Jacinto Dalí i Domènech was born on May 11, 1904, at 8:45 am GMT[6] in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain Dalí's older brother, also named Salvador (born October 12, 1901), had died of gastroenteritis nine months earlier, on August 1, 1903. His father, Salvador Dalí i Cusí, was a middle-class lawyer and notary[8] whose strict disciplinary approach was tempered by his wife, Felipa Domenech Ferrés, who encouraged her son's artistic endeavors. When he was five, Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation,[10] a concept which he came to believe. Of his brother, Dalí said, "...[we] resembled each other like two drops of water, but we had different reflections."He "was probably a first version of myself but conceived too much in the absolute."Images of his long-dead brother would reappear embedded in his later works, including Portrait of My Dead Brother (1963). Dalí also had a sister, Ana María, who was three years younger.In 1949, she published a book about her brother, Dalí As Seen By His Sister. His childhood friends included future FC Barcelona footballers Sagibarba and Josep Samitier. During holidays at the Catalan resort of Cadaqués, the trio played football together.

17. Dalí attended drawing school. In 1916, Dalí also discovered modern painting on a summer vacation trip to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris.[8] The next year, Dalí's father organized an exhibition of his charcoal drawings in their family home. He had his first public exhibition at the Municipal Theater in Figueres in 1919, a site he would return to decades later. In February 1921, Dalí's mother died of breast cancer. Dalí was 16 years old; he later said his mother's death "was the greatest blow I had experienced in my life. I worshipped her... I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul." After her death, Dalí's father married his deceased wife's sister. Dalí did not resent this marriage, because he had a great love and respect for his aunt.

18. Battl in some nations like the middle east people are not allowed to express their feelings and thoughts. In this painting I tried to show this situation and the after of someone expressing their feelings and thoughts when they were not allowed to express their selves and what happened to them. The drawer which has opened in the Forehead of the man shows him expressing his thoughts which he is not allowed to express them. And in the bottom left hand side there is a Corridor which is the heart of the man and since he can't express his feelings he if fighting with his thoughts inside his heart. In this Corridor which is like prison the government is the Prison guard to keep peoples Freedom of speech. On the right hand side there is two people which are Iranians myth in Persian in a book called Shahnameh which a father ( Rostam ) kills his own son in war without knowing that he was his son (Sohrab) which at the end of Shrubs’ last words Rostam realizes that Sohrab was his own son . In this part the meaning of this is that people kill their own thoughts and feelings so they won't be killed. The other people in the painting are a sign of different social classes which without knowing the social problems carry on living. Original Oil and Acrylic on Canvas 100cm x 100cm

19. One more step In this painting I tried to show from a Psychology point of view that in every man there is a woman and in every woman there is a man which either the woman is good in that person or man. In the pocket of the angel I have put a Qajar woman to represent a Psychology point of view. The thought that always angels are women has changed in my painting and I have shown that in this painting even a modern style man can be a angel. Original Oil and Acrylic on Canvas 102cm x 66cm

20. AZiZ ART http://www.azizanza-com

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