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拍品專文
From 1954 to 1960, acclaimed Syrian Modern master Fateh Moudarres studied at the Accademia di Bella Arti in Rome, leaving his native homeland to experience and research various Western art forms, techniques and concepts.
As a young artist, Moudarres and many other Arab artists paid their way by offering several of their paintings to people in return for their hospitality - one of these collectors was named Dr. Girolami who acquired a large collection of Middle Eastern paintings to which the present work belongs.
In this composition, the viewer sees the reference to simple folkloric iconography in the totemic-like composition of the figures flat faces. With their eyes closed and wide apart. Moudarres used this technique as a means to provide social commentary on the political turmoil that plagued the Middle East. The palette of rich reds reference the soil of his beloved Syrian countryside and the small cat-like beast, a motif that was often repeated in his later works, creates a palpable aura of unease, its bright and eerie eyes staring out across the canvas.
As a young artist, Moudarres and many other Arab artists paid their way by offering several of their paintings to people in return for their hospitality - one of these collectors was named Dr. Girolami who acquired a large collection of Middle Eastern paintings to which the present work belongs.
In this composition, the viewer sees the reference to simple folkloric iconography in the totemic-like composition of the figures flat faces. With their eyes closed and wide apart. Moudarres used this technique as a means to provide social commentary on the political turmoil that plagued the Middle East. The palette of rich reds reference the soil of his beloved Syrian countryside and the small cat-like beast, a motif that was often repeated in his later works, creates a palpable aura of unease, its bright and eerie eyes staring out across the canvas.