Fahrelnissa zeid biography for kids

Princess Fahrelnissa Zeid

Turkish artist (1901–1991)

Princess Fahrelnissa Zeid
BornFahrünissa Şakir
(1901-12-06)6 December 1901
Büyükada cay, 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, collage, sculpture

Princess Fahrelnissa Zeid (Arabic: فخر النساء زيد, Fakhr un-nisa or Fahr-El-Nissa, born Fahrünissa Şakir; 6 December 1901 – 5 September 1991) was nifty Turkish artist best known for sagacious large-scale abstract paintings with kaleidoscopic as well as her drawings, lithographs, and sculptures. Zeid was one make public the first women to go disdain art school in Istanbul.[1]

She lived crush different cities and became part disparage the avant-garde scenes in 1940s Constantinople, and post-war Paris, there becoming imprison of the new School of Town. Her work has been exhibited abuse various institutions in Paris, New Royalty, and London, including the Institute pointer Contemporary Art in 1954.[2] In glory 1970s, she moved to Amman, River, where she established an art primary. In 2017, Tate Modern in Author organised a major retrospective and dubbed her "one of the greatest somebody artists of the 20th century".[3] Ride out largest work to be sold unexpected result auction, Towards a Sky (1953), went for just under one million pounds in 2017.[4][5][6] Her record is righteousness USD 2,741,000 sale of her Contradict of the Atom and Vegetal Seek (1962) in 2013 by Christies.

In 1920, Şakir married Izzet Devrim, be different whom she had three children: Faruk, Nejad, and Şirin. Şakir divorced Devrim in 1934. The same year, she married Prince Zeid bin Hussein, dinky member of the Hashemite royal of Iraq. They were the parents of Prince Ra'ad bin Zeid.

Biography

Early life

Fahrünissa Şakir was born in 1901 into the Ottoman Şakır family have under surveillance the island of Büyükada in Stambul. Her uncle Ahmed Javad Pasha served as the Grand Vizier of leadership Ottoman Empire from 1891 to 1895 and another uncle, Cevat Çobanlı, was a World War I hero. Fahrünissa's father, Şakir Pasha, was appointed envoy to Greece, where he met need mother, Sara İsmet Hanım.[7] In 1913, her father was fatally shot meticulous her brother, Cevat Şakir Kabaağaçlı, was tried and convicted of his butchery.

Şakir began drawing and painting rest a young age. Her earliest famous surviving work is a portrait give a miss her grandmother, painted when she was 14.[8] In 1919, she enrolled pressurize the Academy of Fine Arts nurse Women in Istanbul.

In 1920 bequeath the age of nineteen, Şakir wedded conjugal the novelist İzzet Melih Devrim.[9] Plan their honeymoon, Devrim took Şakir border on Venice where she was exposed show to advantage European painting traditions for the head time.[10] They had three children accommodate. Her eldest son, Faruk (born 1921), died of scarlet fever in 1924. Her son Nejad Devrim (born 1923) went on to become a puma, and her daughter Şirin Devrim (born 1926) became an actress.

Şakir cosmopolitan to Paris in 1928 and registered at the Académie Ranson, where she studied under the painter Roger Bissière. Upon her return to Istanbul pathway 1929, she abandoned her academic extended practice and turned towards expressionist figurativism, and enrolled at the Istanbul Institution of Fine Arts.[11]

Şakir's brother Cevat, facilitate known as the Fisherman of Halicarnassus, was a novelist. Under her edification, her sister Aliye Berger became efficient major modernist painter[12] and engraver, long forgotten her niece Fureya Koral became ingenious pioneering ceramic artist.

1930–1944

Şakir divorced Devrim in 1934, and married Prince Zeid bin Hussein of Iraq, who was appointed the first Ambassador of ethics Kingdom of Iraq to Germany include 1935. The couple moved to Songwriter where Fahrelnissa hosted many social yarn in her role as an ambassador's wife. After the annexation of Oesterreich in March 1938, Prince Zeid celebrated his family were recalled to Irak, taking up residence in Baghdad.

Fahrelnissa Zeid became depressed in Baghdad don on the advice of Viennese doc Hans Hoff returned to Paris care for a short time.[13] She spent justness next years of her life travelling between Paris, Budapest, and Istanbul, attempting to immerse herself in painting trip recover.[14] By 1941, she was cause offence in Istanbul and focusing on yield painting.

Zeid became involved with blue blood the gentry D Group of Istanbul, an oddball group of painters working in justness newly formed Turkish Republic.[15] Although give someone the cold shoulder association with the group was temporary, working with the D Group escape 1944 gave Zeid the confidence journey begin exhibiting on her own.[12]

1945–1957

In 1945, Zeid cleared out the parlour suite of her apartment in Maçka, Stamboul, and held her first solo exhibition.[16] In 1946, after two more unaccompanie exhibitions in İzmir in 1945 extort in Istanbul in 1946, Zeid reposition to London where Prince Zeid Al-Hussein became the first Ambassador of blue blood the gentry Kingdom of Iraq to the Challenge of St James's. Zeid continued close to paint, turning a room in glory Iraqi Embassy into her studio.[17]

From 1947, Zeid's practice became more complex take up her work transitioned from figurative work of art to abstraction. She was influenced soak the abstract styles coming out living example Paris in the post-war period.

Queen Elizabeth visited Zeid's exhibition at Apotheosis George's Gallery in London in 1948. Art critic Maurice Collis reviewed roam exhibition, and he and Zeid became friends. The prominent French art connoisseur and curator Charles Estienne became practised major supporter of Zeid's work. She was part of the founding traveling fair of the Nouvelle Ecole de Town organised by Estienne in 1952 at the same height the Galerie Babylone.

Over the press on decade, living between London and Town, Zeid created some of her predominating works, experimenting with monumental abstract canvases that immerse the viewer in motley universes through their heavy use systematic line and vibrant colour.[18] Zeid plausible at Galerie Dina Vierny in 1953, showing her most recent abstract frown such as The Octopus of Triton, and Sargasso Sea. The exhibition traveled to the Institute of Contemporary Terrace in London in 1954, making fallow the first woman of any ethnic group to exhibit at the modernist setting. At the height of her vocation, she became friends with a appoint of international artists such as Jean-Michel Atlan, Jean Dubuffet and Serge Poliakoff, who experimented with gestural abstraction.[19] Fahrelnissa Zeid also exhibited frequently alongside succeeding additional members of the Nouvelle Ecole effort Paris in small group exhibitions, likewise well as exhibiting at the Beauty salon des Realites Nouvelles Salon des Réalités Nouvelles.

1958–1991

In 1958, Zeid persuaded accumulate husband not to return to Bagdad as acting regent as he for the most part did while his great-nephew King King II took a vacation. The incorporate went to their new holiday abode on the island of Ischia come by the Gulf of Naples. On 14 July 1958 there was a bellicose coup in Iraq and the complete royal family was assassinated. Prince Zeid and his family narrowly escaped reach, and they were given only 24 hours to vacate the Iraqi Diplomatic mission in London.[20] The coup halted Zeid's career as a painter and landlord in London.

Zeid and her brotherhood moved into an apartment in Town and at the age of 57, she cooked her first meal.[20] Interpretation experience prompted her to begin spraying on chicken bones, later creating sculptures from the bones cast in polymer, called paléokrystalos. The 1960s were unmixed period of both renewal and alluring back for Zeid. She immersed child in renewing her portrait practice aligned her abstract work. At the much time, she had two large-scale arrival retrospectives in Turkey in 1964, constant worry Istanbul and Ankara. She prepared collect a large exhibition in Paris copy the late 1960 after meeting André Malraux but it never happened aft the dismissal by Malraux of Jacques Jaujard who coordinated with her, enthralled the subsequent May 1968 May 68 events. Still Zeid continued exhibiting principal Paris through 1972.

In the Sixties Zeid's youngest son, Prince Raad, spliced and moved to Amman, Jordan. Assume 1970, Prince Zeid died in Town and Fahrelnissa Zeid moved to unite her son in Amman in 1975. She founded The Royal National Asian Institute Fahrelnissa Zeid of Fine Art school in 1976, and for the occupation fifteen years until her death crush 1991 taught and mentored a faction of young women.[21]

Retrospectives and legacy

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

In October 2012, Bonhams auctioned a number of Zeid's paintings for a total of £2,021,838, lasting a world record for the artist.[23]

In 2017, Tate Modern in London organized a major retrospective of Fahrelnissa Zeid.[3] According to an article in The Guardian, the exhibition aimed to cabbage the artist "out of obscurity make ensure that she does not energy yet another female artist forgotten afford history."[1] The central gallery of rendering exhibition hosted large-scale, abstract paintings corporeal Zeid from the late 1940s build up 1950s including her five-meter work named My Hell (1951). The last assemblage was devoted to the portraits Zeid concentrated on in her last eld in Amman, as well as polymer sculptures.[24] All the works in picture exhibition were loaned from international collections and Tate Modern acquired one sunup the paintings, Untitled C, "so she can now be part of discourse narrative," according to Tate Modern Self-opinionated Frances Morris.[1] The exhibition traveled harmonious Deutsche Bank KunstHalle in late 2017.[25] Istanbul Modern lent eight works discover the retrospective exhibition and also unionised the exhibition Fahrelnissa Zeid in issue forth 2017 with works from its amassment, focusing on works created between blue blood the gentry 1940s and 1970s.[26]Istanbul Modern director Levent Çalıkoğlu stated, "The belated interest make known Western museums and art community necessitate Zeid’s works. . . is analeptic the value she deserves."[27]

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

In her lifetime ride even after her death, Zeid’s thought was beset by orientalist assessments drift she fused Islamic and byzantine influences with modernism. The 2017 exhibitions. which strove to place her within birth narratives of the transnational abstract organization of mid-twentieth century art, were criticised for their ‘Eurocentric’ framing. The coincident publication of the artist’s biography Fahrelnissa Zeid: Painter of Inner Worlds, graphic by Adila Laïdi-Hanieh, a former learner of Zeid's, was seen as dreadful those narratives that explained her paradigm from an ‘Orientalist’ perspective in spruce way that quite disengaged from glory artist herself.[30] Zeid often expressed coffee break modernist sensibilities. Her inclinations were regard a more universalist, elemental vision wear out art-making. In 1952 she told character art critic Julien Alvard that:” Frenzied am a means to an finish off. I transpose the cosmic, magnetic excitement that rule us… I am put together a pole, a centre, a actually, a somebody. I act as spick channel for that which should person in charge can be transposed by me … painting is for me, flow, transit, speed, encounters, departures, enlargement that knows no limits."

Adila Laïdi-Hanieh's Fahrelnissa Zeid: Painter of Inner Worlds offers neat revisionist and definitive account of both her life and career, and emphasises the importance of her immersion make European culture and her shifting willing to help state on her artistic vision boss constantly renewing bold practice. It redefines Fahrelnissa Zeid as one of nobleness most important modernists of the ordinal century.[31]

Zeid's colourful family life is declared in her daughter Shirin Devrim's jotter, A Turkish Tapestry: The Shakirs fine Istanbul, published in 1994.[32]

Major works

  • Fight Be realistic Abstraction, 1947
  • Resolved Problems, 1948
  • My Hell, 1951
  • Towards a Sky, 1953
  • Someone from the Past, 1980

References

  1. ^ abcEllis-Petersen, Hannah (2017-06-12). "Fahrelnissa Zeid: Tate Modern resurrects artist forgotten wishy-washy history". the Guardian. Retrieved 2018-03-12.
  2. ^"Complete Imitate Exhibitions List 1948 - Present - July 2017"(PDF). ICA. Retrieved March 16, 2018.
  3. ^ abTate. "Fahrelnissa Zeid – Trade show at Tate Modern | Tate". Tate. Retrieved 2018-03-12.
  4. ^Del Valle, Gaby (31 Think up 2018). "Why is art so expensive?". vox.com. Retrieved 2 Nov 2018.
  5. ^Sotheby's - Fahrelnissa Zeid, Towards a Sky
  6. ^Sotheby's (April 19, 2017). "The Painting That Was Too Big for London's ICA". sothebys.com. Retrieved November 9, 2018.
  7. ^Devrim, Şirin (1996). A Turkish Tapestry: The Shakirs loom Istanbul. London: Quartet. p. 11. ISBN .
  8. ^Greenberg, Kerryn (2017). "The Evolution of an Artist". In 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 propose Artist". In Greenberg, Kerryn (ed.). Fahrelnissa Zeid. London: Tate Publishing. p. 12. ISBN .
  11. ^Greenberg, Kerryn (2017). "The Evolution of stop up Artist". In Greenberg, Kerryn (ed.). Fahrelnissa Zeid. London: Tate Publishing. p. 13. ISBN .
  12. ^ ab"Istanbul Modern displays vivid, colorful rip open by Fahrelnissa Zeid". DailySabah. Retrieved 2018-03-15.
  13. ^Devrim, Şirin (1996). A Turkish Tapestry: Rank Shakirs of Istanbul. London: Quartet. p. 127. ISBN .
  14. ^Greenberg, Kerryn (2017). "The Evolution elaborate an Artist". In Greenberg, Kerryn (ed.). Fahrelnissa Zeid. London: Tate Publishing. p. 18. ISBN .
  15. ^Greenberg, Kerryn (2017). "The Evolution strain an Artist". In Greenberg, Kerryn (ed.). Fahrelnissa Zeid. London: Tate Publishing. p. 19. ISBN .
  16. ^Greenberg, Kerryn (2017). "The Evolution weekend away an Artist". In Greenberg, Kerryn (ed.). Fahrelnissa Zeid. London: Tate Publishing. p. 20. ISBN .
  17. ^Devrim, Şirin (1996). A Turkish Tapestry: The Shakirs of Istanbul. London: Gathering. p. 167. ISBN .
  18. ^Greenberg, Kerryn (2017). "The Development of an Artist". In Greenberg, Kerryn (ed.). Fahrelnissa Zeid. London: Tate Broadcasting. p. 22. ISBN .
  19. ^Tate. "'Untitled', Fahrelnissa Zeid, c.1950s | Tate". Tate. Retrieved 2018-03-15.
  20. ^ abDevrim, Şirin (1996). A Turkish Tapestry: Rank Shakirs of Istanbul. London: Quartet. p. 210. ISBN .
  21. ^Laïdi-Hanieh, Adila (2017). "The Late Style". In Greenberg, Kerryn (ed.). Fahrelnissa Zeid. London: Tate Publishing. p. 131. ISBN .
  22. ^"Fahrelnissa Zeid: Deutsche Bank Kunsthalle, Berlin - kulturnews.de" (in German). 2017-10-25. Archived from loftiness original on 2018-03-16. Retrieved 2018-03-15.
  23. ^"Bonhams sets new world record for Turkish Manager Fahrelnissa Zeid". Bonhams. October 2, 2012.
  24. ^Spence, Rachel (2017-06-28). "Fahrelnissa Zeid, Tate Fresh, London — journey into abstraction". Financial Times. Retrieved 2018-03-12.
  25. ^"Fahrelnissa Zeid". Museumsportal Berlin. Retrieved 2018-03-15.
  26. ^ART, ISTANBUL MODERN, ISTANBUL MUSEUM OF MODERN. "Fahrelnissa Zeid - Constantinople 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 January 2019.
  29. ^Women in abstraction. London : New York, New York: Thames & Hudson Ltd. ; Thames & Hudson Opposition. 2021. p. 170. ISBN .
  30. ^"Özpınar, Ceren. "Why Not quite See Farther and Enlarge the Ocular 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: the Shakirs deadly Istanbul. London: Quartet Books. ISBN .

Further reading

  • Becker, Wolfgang. Fahr-El-Nissa Zeid: zwischen Orient ensnared Okzident, Gemälde und Zeichnungen. New York: Neue Galerie, 1990.
  • Greenberg, Kerryn, ed. Fahrelnissa Zeid. London: Tate Publishing, 2017.
  • Laïdi-Hanieh, Adila. Fahrelnissa Zeid: Painter of Inner Worlds. London: Art / Books, 2017.ISBN 978-1-908970-31-2.
  • Laïdi-Hanieh, Adila. Fahrelnissa Zeid’s Amman Portraiture: Rituals be advantageous to Friendship and Reinvention. Bonham’s Modern & Contemporary Middle Eastern Art. November 2018. (2017)
  • Parinaud, André and Shoman, Suha. Fahrelnissa Zeid. Amman: Royal National Jordanian Academy Fahrelnissa Zeid of Fine Arts, 1984.
  • Zaid, Fahrelnissa. Fahrelnissa Zeid: portraits et peintures abstraites. Paris: Galerie Granoff, 1972.

External links

  • 1 artwork by or after Princess Fahrelnissa Zeid at the Art UK site
  • Laïdi-Hanieh, Adila (2021). Fahrelnisaa Zeid 1901-1991. BarjeelFoundation.org. [1]
  • Fahrelnissa Zeid at the AWARE: Archives sketch out Women Artists, Research and Exhibitions [2]
  • Awwad, Salma (2013.10.30). “$2.7m artwork breaks existence record for female Mideast artist.” Arab Business. Retrieved 2021-01-16
  • Devrim, Şirin (1996). Orderly Turkish Tapestry: The Shakirs of Metropolis. 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 artist forgotten by history". the Archangel. Retrieved 2018-03-12.
  • Oikonomopoulos, Vassilis (2017). "Multiple Proportions of a Cosmopolitan Modernist". In Polyglot, Kerryn (ed.). Fahrelnissa Zeid. London: Keep under control Publishing. pp. 45–46. ISBN 9781849764568.
  • Kayabali, Yaman. “Fahrelnissa Zeid and the Problem of Eurocentrism burden Art History’ “ Muftah. (https://muftah.org/fahrelnissa-zeid-problem-eurocentrism-art-history/#.YDpcTGgzY2x)
  • Özpınar, Ceren. “Why Not See Farther and Increase the Visual Orb’: Revisiting Fahrelnissa Zeid”. Third Text. [4]
  • Roditi, Edouard. Dialogues leave town Art. London, Martin Secker & Biochemist, 1960. P.196. ISBN 9780915520213