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拍品專文
Since the 1970s, Hamed Nada’s oeuvre gradually shifted from the psychological and pathetic aspect of working-class subjects to more joyful and energetic scenes such as the present lot, Dancer and the Pianist. Like his mentor Hussein Youssef Amin (1904-1984), he was fascinated by the mural quality of children’s drawings, which particularly impressed him while teaching art at primary school in the 1950s as proved by lack of perspective and the figure’s’ stylisation in this work.
Sitting on a small chair, a man dressed in an elegant and Western suit with a red bow tie is spiritedly playing piano. Just in front of him, a slender female figure, wearing just a black bra, underwear and garter, is frantically dancing putting her hands up. The stylisation is clearly related to the mural paintings ornamenting Pharaonic temples and tombs located in Luxor where he worked in a studio of the Faculty of Fine Arts in 1956. Additionally, he had a passion for primitive African art that French archaeologists started excavated during expeditions in Algeria, where some of the first human communities lived in 8,000 BC. He was therefore inspired by these cheerful and comical themes as testified by the intriguing people dancing in a sort of yellow cave in the background, the entrance of which takes the shape of a mysterious animal.
Later, Nada expressed his attraction to women and gave his pieces a strong sexual connotation, as could be interpreted in the relationship between the woman and the bull in the present work. This animal, symbolising sexual masculine power, points its horns towards the half-naked woman possibly hinting to sexual intercourse. The elongated figures dancing to music are reminiscent of Egyptian hieroglyphs and appear as generalised symbols rather than particularised personages. The musical vibrations of Dancer and the Pianist, accentuated by the rich palette and dynamic brushstrokes, transport the viewer into a lively atmosphere that celebrates the joy and pleasures of life.
Sitting on a small chair, a man dressed in an elegant and Western suit with a red bow tie is spiritedly playing piano. Just in front of him, a slender female figure, wearing just a black bra, underwear and garter, is frantically dancing putting her hands up. The stylisation is clearly related to the mural paintings ornamenting Pharaonic temples and tombs located in Luxor where he worked in a studio of the Faculty of Fine Arts in 1956. Additionally, he had a passion for primitive African art that French archaeologists started excavated during expeditions in Algeria, where some of the first human communities lived in 8,000 BC. He was therefore inspired by these cheerful and comical themes as testified by the intriguing people dancing in a sort of yellow cave in the background, the entrance of which takes the shape of a mysterious animal.
Later, Nada expressed his attraction to women and gave his pieces a strong sexual connotation, as could be interpreted in the relationship between the woman and the bull in the present work. This animal, symbolising sexual masculine power, points its horns towards the half-naked woman possibly hinting to sexual intercourse. The elongated figures dancing to music are reminiscent of Egyptian hieroglyphs and appear as generalised symbols rather than particularised personages. The musical vibrations of Dancer and the Pianist, accentuated by the rich palette and dynamic brushstrokes, transport the viewer into a lively atmosphere that celebrates the joy and pleasures of life.