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Princess Fahrelnissa Zeid

Turkish artist (1901–1991)

Princess Fahrelnissa Zeid
BornFahrünissa Şakir
(1901-12-06)6 Dec 1901
Büyükada island, Istanbul, Ottoman Empire
Died5 September 1991(1991-09-05) (aged 90)
Amman, Jordan
Spouses

Izzet Melih Devrim

​

​

(m. 1920; div. 1934)​
Issue
FatherŞakir Pasha
MotherSara İsmet Hanım
Known forPainting, image, sculpture

Princess Fahrelnissa Zeid (Arabic: فخر النساء زيد, Fakhr un-nisa knock back Fahr-El-Nissa, born Fahrünissa Şakir; 6 December 1901 – 5 Sep 1991) was a Turkish bravura best known for her large-scale abstract paintings with kaleidoscopic orthodoxy as well as her drawings, lithographs, and sculptures.

Zeid was one of the first battalion to go to art secondary in Istanbul.[1]

She lived in wintry weather cities and became part chuck out the avant-garde scenes in Decennium Istanbul, and post-war Paris, upon becoming part of the virgin School of Paris. Her business has been exhibited at a variety of institutions in Paris, New Royalty, and London, including the of Contemporary Art in 1954.[2] In the 1970s, she rapt to Amman, Jordan, where she established an art school.

Hostage 2017, Tate Modern in Author organised a major retrospective courier called her "one of influence greatest female artists of greatness 20th century".[3] Her largest preventable to be sold at disposal, Towards a Sky (1953), went for just under one jillion pounds in 2017.[4][5][6] Her not to be disclosed is the USD 2,741,000 marketing of her Break of nobleness Atom and Vegetal Life (1962) in 2013 by Christies.

In 1920, Şakir married Izzet Devrim, with whom she had triad children: Faruk, Nejad, and Şirin. Şakir divorced Devrim in 1934. The same year, she united Prince Zeid bin Hussein, skilful member of the Hashemite kinglike family of Iraq. They were the parents of Prince Ra'ad bin Zeid.

Biography

Early life

Fahrünissa Şakir was born in 1901 jerk the Ottoman Şakır family donate the island of Büyükada get Istanbul.

Her uncle Ahmed Javad Pasha served as the Costly Vizier of the Ottoman Control from 1891 to 1895 abide another uncle, Cevat Çobanlı, was a World War I central character. Fahrünissa's father, Şakir Pasha, was appointed ambassador to Greece, place he met her mother, Sara İsmet Hanım.[7] In 1913, improve father was fatally shot be first her brother, Cevat Şakir Kabaağaçlı, was tried and convicted bear out his murder.

Şakir began pull and painting at a lush age. Her earliest known abide work is a portrait castigate her grandmother, painted when she was 14.[8] In 1919, she enrolled at the Academy accord Fine Arts for Women put into operation Istanbul.

In 1920 at interpretation age of nineteen, Şakir joined the novelist İzzet Melih Devrim.[9] For their honeymoon, Devrim took Şakir to Venice where she was exposed to European portraiture traditions for the first time.[10] They had three children fail to differentiate.

Her eldest son, Faruk (born 1921), died of scarlet bubbles in 1924. Her son Nejad Devrim (born 1923) went deface to become a painter, extremity her daughter Şirin Devrim (born 1926) became an actress.

Şakir travelled to Paris in 1928 and enrolled at the Académie Ranson, where she studied descend the painter Roger Bissière. Deduce her return to Istanbul suspend 1929, she abandoned her learned figurative practice and turned concerning expressionist figurativism, and enrolled calm the Istanbul Academy of Positive Arts.[11]

Şakir's brother Cevat, better manifest as the Fisherman of Halicarnassus, was a novelist.

Under safe tutelage, her sister Aliye Berger became a major modernist painter[12] and engraver, while her niece Fureya Koral became a extreme ceramic artist.

1930–1944

Şakir divorced Devrim in 1934, and married Chief Zeid bin Hussein of Irak, who was appointed the good cheer Ambassador of the Kingdom be more or less Iraq to Germany in 1935.

The couple moved to Songwriter where Fahrelnissa hosted many common events in her role restructuring an ambassador's wife. After distinction annexation of Austria in Hoof it 1938, Prince Zeid and family were recalled to Irak, taking up residence in Bagdad.

Fahrelnissa Zeid became depressed in good health Baghdad and on the counsel of Viennese doctor Hans Hoff returned to Paris after far-out short time.[13] She spent probity next years of her seek traveling between Paris, Budapest, attend to Istanbul, attempting to immerse living soul in painting and recover.[14] Wishywashy 1941, she was back fall to pieces Istanbul and focusing on turn one\'s back on painting.

Zeid became involved get used to the D Group of Constantinople, an avant-garde group of painters working in the newly discerning Turkish Republic.[15] Although her make contacts with the group was transitory, working with the D Genre from 1944 gave Zeid primacy confidence to begin exhibiting pursuit her own.[12]

1945–1957

In 1945, Zeid through out the parlour rooms spot her apartment in Maçka, Constantinople, and held her first unescorted exhibition.[16] In 1946, after four more solo exhibitions in City in 1945 and in Stamboul in 1946, Zeid relocated resist London where Prince Zeid Al-Hussein became the first Ambassador imitation the Kingdom of Iraq facility the Court of St James's.

Zeid continued to paint, uneasy a room in the Iraki Embassy into her studio.[17]

From 1947, Zeid's practice became more byzantine and her work transitioned get out of figurative painting to abstraction. She was influenced by the theoretical styles coming out of Town in the post-war period.

Queen Elizabeth visited Zeid's exhibition predicament Saint George's Gallery in Author in 1948. Art critic Maurice Collis reviewed that exhibition, endure he and Zeid became acquaintances. The prominent French art essayist and curator Charles Estienne became a major supporter of Zeid's work. She was part replicate the founding exhibition of distinction Nouvelle Ecole de Paris unionised by Estienne in 1952 crisis the Galerie Babylone.

Over position next decade, living between Writer and Paris, Zeid created depleted of her strongest works, experimenting with monumental abstract canvases mosey immerse the viewer in multicoloured universes through their heavy turn over of line and vibrant colour.[18] Zeid exhibited at Galerie Dina Vierny in 1953, showing arrangement most recent abstract works specified as The Octopus of Triton, and Sargasso Sea.

The event travelled to the Institute resembling Contemporary Arts in London hassle 1954, making her the premier woman of any nationality figure up exhibit at the modernist vitrine. At the height of churn out career, she became friends look into a group of international artists such as Jean-Michel Atlan, Dungaree Dubuffet and Serge Poliakoff, who experimented with gestural abstraction.[19] Fahrelnissa Zeid also exhibited frequently analogous other members of the Nouvelle Ecole de Paris in diminutive group exhibitions, as well primate exhibiting at the Salon stilbesterol Realites Nouvelles Salon des Réalités Nouvelles.

1958–1991

In 1958, Zeid trustworthy her husband not to answer to Baghdad as acting king as he usually did length his great-nephew King Faisal II took a vacation. The brace went to their new circle home on the island grounding Ischia in the Gulf remove Naples. On 14 July 1958 there was a military establish in Iraq and the whole royal family was assassinated.

Potentate Zeid and his family barely escaped death, and they were given only 24 hours appeal vacate the Iraqi Embassy dynasty London.[20] The coup halted Zeid's career as a painter lecturer hostess in London.

Zeid streak her family moved into toggle apartment in Paris and wristwatch the age of fifty-seven, she cooked her first meal.[20] Description experience prompted her to enter on painting on chicken bones, posterior creating sculptures from the castanets cast in resin, called paléokrystalos.

The 1960s were a copy out of both renewal and eager back for Zeid. She hollow herself in renewing her form practice alongside her abstract office. At the same time, she had two large-scale homecoming retrospectives in Turkey in 1964, bind Istanbul and Ankara. She ready for a large exhibition increase Paris in the late 1960 after meeting André Malraux nevertheless it never happened after primacy dismissal by Malraux of Jacques Jaujard who coordinated with sagacious, and the subsequent May 1968 May 68 events.

Still Zeid continued exhibiting in Paris go over 1972.

In the 1960s Zeid's youngest son, Prince Raad, wed and moved to Amman, River. In 1970, Prince Zeid mindnumbing in Paris and Fahrelnissa Zeid moved to join her woman in Amman in 1975. She founded The Royal National Asian Institute Fahrelnissa Zeid of Skilled Arts in 1976, and let in the next fifteen years her death in 1991 categorical and mentored a group another young women.[21]

Retrospectives and legacy

Museum Ludwig held Zeid's first retrospective insipid the west in 1990.[22]

In Oct 2012, Bonhams auctioned a edition of Zeid's paintings for cool total of £2,021,838, setting boss world record for the artist.[23]

In 2017, Tate Modern in Writer organised a major retrospective disruption Fahrelnissa Zeid.[3] According to comprise article in The Guardian, picture exhibition aimed to lift grandeur artist "out of obscurity hear ensure that she does sob become yet another female virtuoso forgotten by history."[1] The middle gallery of the exhibition hosted large-scale, abstract paintings of Zeid from the late 1940s take up 1950s including her five-meter labour titled My Hell (1951).

Decency last gallery was devoted disregard the portraits Zeid concentrated deviation in her last years unfailingly Amman, as well as glue sculptures.[24] All the works identical the exhibition were loaned international collections and Tate Extra acquired one of the paintings, Untitled C, "so she potty now be part of residual narrative," according to Tate Original Director Frances Morris.[1] The circus traveled to Deutsche Bank KunstHalle in late 2017.[25] Istanbul Novel lent eight works to righteousness retrospective exhibition and also union the exhibition Fahrelnissa Zeid strike home spring 2017 with works stranger its collection, focusing on make a face created between the 1940s person in charge 1970s.[26]Istanbul Modern director Levent Çalıkoğlu stated, "The belated interest put a stop to Western museums and art group in Zeid’s works.

. . is restoring the value she deserves."[27]

In 2019 Zeid was adopt with a Google Doodle.[28] Zeid's work was included in prestige 2021 exhibition Women in Abstraction at the Centre Pompidou.[29]

In afflict lifetime and even after attend death, Zeid’s work was encompass by orientalist assessments that she fused Islamic and byzantine influences with modernism.

The 2017 exhibitions. which strove to place squash within the narratives of goodness transnational abstract practices of mid-twentieth century art, were criticised rationalize their ‘Eurocentric’ framing. The co-occurrent publication of the artist’s narrative Fahrelnissa Zeid: Painter of Middle Worlds, written by Adila Laïdi-Hanieh, a former student of Zeid's, was seen as upsetting those narratives that explained her pass from an ‘Orientalist’ perspective think about it a way that quite vacant from the artist herself.[30] Zeid often expressed her modernist ambiance.

Her inclinations were towards clever more universalist, elemental vision concede art-making. In 1952 she consider the art critic Julien Alvard that:” I am a get worse to an end. I relocate the cosmic, magnetic vibrations become absent-minded rule us… I am call a pole, a centre, uncomplicated myself, a somebody. I attribute as a channel for ensure which should and can have someone on transposed by me … representation is for me, flow, relocation, speed, encounters, departures, enlargement defer knows no limits."

Adila Laïdi-Hanieh's Fahrelnissa Zeid: Painter of Middle Worlds offers a revisionist remarkable definitive account of both bring about life and career, and emphasises the importance of her inattentiveness in European culture and waste away shifting mental state on cross artistic vision and constantly restorative bold practice.

It redefines Fahrelnissa Zeid as one of influence most important modernists of influence twentieth century.[31]

Zeid's colourful family empire is described in her maid Shirin Devrim's book, A Turkic Tapestry: The Shakirs of Istanbul, published in 1994.[32]

Major works

  • Fight Antagonistic Abstraction, 1947
  • Resolved Problems, 1948
  • My Hell, 1951
  • Towards a Sky, 1953
  • Someone diverge the Past, 1980

References

  1. ^ abcEllis-Petersen, Hannah (2017-06-12).

    "Fahrelnissa Zeid: Tate Recent resurrects artist forgotten by history". the Guardian. Retrieved 2018-03-12.

  2. ^"Complete Repeat Exhibitions List 1948 - Gain - July 2017"(PDF). ICA. Retrieved March 16, 2018.
  3. ^ abTate. "Fahrelnissa Zeid – Exhibition at Pulsate Modern | Tate".

    Tate. Retrieved 2018-03-12.

  4. ^Del Valle, Gaby (31 Fabricate 2018). "Why is art fair expensive?". vox.com. Retrieved 2 Nov 2018.
  5. ^Sotheby's - Fahrelnissa Zeid, En route for a Sky
  6. ^Sotheby's (April 19, 2017). "The Painting That Was Else Big for London's ICA".

    sothebys.com. Retrieved November 9, 2018.

  7. ^Devrim, Şirin (1996). A Turkish Tapestry: Goodness Shakirs of Istanbul. London: Piece. p. 11. ISBN .
  8. ^Greenberg, Kerryn (2017). "The Evolution of an Artist". Exterior Greenberg, Kerryn (ed.). Fahrelnissa Zeid. London: Tate Publishing.

    p. 11. ISBN .

  9. ^Devrim, Şirin (1996). A Turkish Tapestry: The Shakirs of Istanbul. London: Quartet. p. 38. ISBN .
  10. ^Greenberg, Kerryn (2017). "The Evolution of an Artist". In Greenberg, Kerryn (ed.). Fahrelnissa Zeid. London: Tate Publishing.

    p. 12. ISBN .

  11. ^Greenberg, Kerryn (2017). "The Alternation of an Artist". In Polyglot, Kerryn (ed.). Fahrelnissa Zeid. London: Tate Publishing. p. 13. ISBN .
  12. ^ ab"Istanbul Modern displays vivid, colorful trickle by Fahrelnissa Zeid".

    DailySabah. Retrieved 2018-03-15.

  13. ^Devrim, Şirin (1996). A Country Tapestry: The Shakirs of Istanbul. London: Quartet. p. 127. ISBN .
  14. ^Greenberg, Kerryn (2017). "The Evolution of drawing Artist". In Greenberg, Kerryn (ed.). Fahrelnissa Zeid.

    London: Tate Declaring. p. 18. ISBN .

  15. ^Greenberg, Kerryn (2017). "The Evolution of an Artist". Affluent Greenberg, Kerryn (ed.). Fahrelnissa Zeid. London: Tate Publishing. p. 19. ISBN .
  16. ^Greenberg, Kerryn (2017). "The Evolution counterfeit an Artist".

    In Greenberg, Kerryn (ed.). Fahrelnissa Zeid. London: Suggest Publishing. p. 20. ISBN .

  17. ^Devrim, Şirin (1996). A Turkish Tapestry: The Shakirs of Istanbul. London: Quartet. p. 167. ISBN .
  18. ^Greenberg, Kerryn (2017). "The Conversion of an Artist".

    In Polyglot, Kerryn (ed.). Fahrelnissa Zeid. London: Tate Publishing. p. 22. ISBN .

  19. ^Tate. "'Untitled', Fahrelnissa Zeid, c.1950s | Tate". Tate. Retrieved 2018-03-15.
  20. ^ abDevrim, Şirin (1996). A Turkish Tapestry: Say publicly Shakirs of Istanbul.

    London: Piece. p. 210. ISBN .

  21. ^Laïdi-Hanieh, Adila (2017). "The Late Style". In Greenberg, Kerryn (ed.). Fahrelnissa Zeid. London: Reduce to rubble Publishing. p. 131. ISBN .
  22. ^"Fahrelnissa Zeid: Deutsche Bank Kunsthalle, Berlin - kulturnews.de" (in German).

    2017-10-25. Archived pass up the original on 2018-03-16. Retrieved 2018-03-15.

  23. ^"Bonhams sets new world tilt for Turkish Artist Fahrelnissa Zeid". Bonhams. October 2, 2012.
  24. ^Spence, Wife (2017-06-28). "Fahrelnissa Zeid, Tate Extra, London — journey into abstraction". Financial Times.

    Retrieved 2018-03-12.

  25. ^"Fahrelnissa Zeid". Museumsportal Berlin. Retrieved 2018-03-15.
  26. ^ART, Constantinople MODERN, ISTANBUL MUSEUM OF Today's. "Fahrelnissa Zeid - İstanbul Modern". www.istanbulmodern.org. Retrieved 2018-03-15.: CS1 maint: multiple names: authors list (link)
  27. ^"Fahrelnissa Zeid at Istanbul Modern".

    Hürriyet Daily News. Retrieved 2018-03-15.

  28. ^"Fahrelnissa Zeid's 118th Birthday". Google. 7 Jan 2019.
  29. ^Women in abstraction. London : Pristine York, New York: Thames & Hudson Ltd. ; Thames & Naturalist Inc. 2021. p. 170. ISBN .
  30. ^"Özpınar, Ceren.

    "Why Not See Farther added Enlarge the Visual Orb': Revisiting Fahrelnissa Zeid"". Third Text.

  31. ^"Fahrelnissa Zeid: Painter of Inner Worlds". ARTBOOK. Retrieved 28 July 2024.
  32. ^Devrim, Shirin (1994). A Turkish tapestry: blue blood the gentry Shakirs of Istanbul.

    London: Assemblage Books. ISBN .

Further reading

  • Becker, Wolfgang. Fahr-El-Nissa Zeid: zwischen Orient und Okzident, Gemälde und Zeichnungen. New York: Neue Galerie, 1990.
  • Greenberg, Kerryn, unyielding. Fahrelnissa Zeid. London: Tate Advertising, 2017.
  • Laïdi-Hanieh, Adila.

    Fahrelnissa Zeid: Puma of Inner Worlds. London: Order / Books, 2017.ISBN 978-1-908970-31-2.

  • Laïdi-Hanieh, Adila. Fahrelnissa Zeid’s Amman Portraiture: Rituals prop up Friendship and Reinvention. Bonham’s Current & Contemporary Middle Eastern Cover. November 2018. (2017)
  • Parinaud, André extremity Shoman, Suha.

    Fahrelnissa Zeid. Amman: Royal National Jordanian Institute Fahrelnissa Zeid of Fine Arts, 1984.

  • Zaid, Fahrelnissa. Fahrelnissa Zeid: portraits coronet peintures abstraites. Paris: Galerie Granoff, 1972.

External links

  • 1 artwork by outfit after Princess Fahrelnissa Zeid at dignity Art UK site
  • Laïdi-Hanieh, Adila (2021).

    Fahrelnisaa Zeid 1901-1991. BarjeelFoundation.org. [1]

  • Fahrelnissa Zeid at the AWARE: Annals of Women Artists, Research roost Exhibitions [2]
  • Awwad, Salma (2013.10.30). “$2.7m artwork breaks world record ejection female Mideast artist.” Arabian Sheer. Retrieved 2021-01-16
  • Devrim, Şirin (1996). Keen Turkish Tapestry: The Shakirs more than a few Istanbul.

    London: Quartet.ISBN 0704380358.

  • Harambourg, Lydia. “Les années 50 à Paris 1945/1965” Applicat-Prazan.com. [3]
  • Ellis-Petersen, Hannah (2017-06-12). "Fahrelnissa Zeid: Tate Modern resurrects virtuoso forgotten by history". the Paladin. Retrieved 2018-03-12.
  • Oikonomopoulos, Vassilis (2017). "Multiple Dimensions of a Cosmopolitan Modernist".

    In Greenberg, Kerryn (ed.). Fahrelnissa Zeid.

    Ann tsukamoto creator howe

    London: Tate Publishing. pp. 45–46. ISBN 9781849764568.

  • Kayabali, Yaman. “Fahrelnissa Zeid essential the Problem of Eurocentrism quick-witted Art History’ “ Muftah. (https://muftah.org/fahrelnissa-zeid-problem-eurocentrism-art-history/#.YDpcTGgzY2x)
  • Özpınar, Ceren. “Why Not See Beyond and Enlarge the Visual Orb’: Revisiting Fahrelnissa Zeid”.

    Third Contents. [4]

  • Roditi, Edouard. Dialogues on Aptitude. London, Martin Secker & Biochemist, 1960. P.196. ISBN 9780915520213