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Lot Essay
A preeminent artist of modern Egypt, Hamed Nada masterfully navigated themes of symbolism, daily life, and the profound spiritual beliefs of Egypt through vivid and imaginative representations. Born in 1924 in Cairo's Al-Qa'la district, Nada was the progeny of a religious sheikh and grew up amidst the historic ambiance of the Sayyida Zeinab neighborhood. The grandeur of Mamluk and Ottoman monuments marked his childhood, while the vibrant energy of Cairo's markets, enriched with puppet shows and iconic Moulids, deeply influenced his artistic spirit. His artistic journey included learning mural painting at Madrid's Real Academia de Bellas Artes de San Fernando in 1960 and obtaining his degree in 1951 from Cairo's Faculty of Fine Arts under mentors like Ahmed Sabry and Youssef Kamel. Before these formal studies, his artistic and philosophical perspectives were shaped under the guidance of artist-educator Hussein Youssef Amin, near the iconic pyramids, a recurring motif in Nada's works, including in the present work.
Untitled (Dance near the Pyramids) showcases Nada's distinctive style with human-animal hybrids and avian figures set against architectural elements, reminiscent of the Giza plateau. Adhering to a pre-Islamic style, the painting's composition is akin to a structured grid. The figures, reminiscent of West African art, also evoke the complexity of hieroglyphics and seem to come alive under the watchful gaze of a radiant sun and pyramid. Nada's works blur boundaries, with lines—both curved and linear—merging text and imagery, as evident in the arched colonnades of this piece.
A cornerstone in the Group of Contemporary Art (Jama'at al-Fann al-Mu'asir), Nada, alongside peers like Hussein Youssef Amin, Abd Al-Hadi El-Gazzar, Samir Rafi, and Mahmoud Khalil, was a trailblazer in Egyptian modern art. Their combined ethos, as captured in their 1948 manifesto, suggested a shift from classical art's natural beautification to a more introspective, philosophical direction. Nada's artwork paints a tapestry of tales, weaving in stories, shared beliefs, and the enigmatic djinn realm. Through his brushstrokes, societal challenges emerge, emphasising human grit and endurance. Nada's symbolism epitomises his profound bond with Egyptian folklore, deftly juxtaposing mysticism, mythology, and the dynamic pulse of everyday Egyptian public and private life in his vibrant canvases.
Untitled (Dance near the Pyramids) showcases Nada's distinctive style with human-animal hybrids and avian figures set against architectural elements, reminiscent of the Giza plateau. Adhering to a pre-Islamic style, the painting's composition is akin to a structured grid. The figures, reminiscent of West African art, also evoke the complexity of hieroglyphics and seem to come alive under the watchful gaze of a radiant sun and pyramid. Nada's works blur boundaries, with lines—both curved and linear—merging text and imagery, as evident in the arched colonnades of this piece.
A cornerstone in the Group of Contemporary Art (Jama'at al-Fann al-Mu'asir), Nada, alongside peers like Hussein Youssef Amin, Abd Al-Hadi El-Gazzar, Samir Rafi, and Mahmoud Khalil, was a trailblazer in Egyptian modern art. Their combined ethos, as captured in their 1948 manifesto, suggested a shift from classical art's natural beautification to a more introspective, philosophical direction. Nada's artwork paints a tapestry of tales, weaving in stories, shared beliefs, and the enigmatic djinn realm. Through his brushstrokes, societal challenges emerge, emphasising human grit and endurance. Nada's symbolism epitomises his profound bond with Egyptian folklore, deftly juxtaposing mysticism, mythology, and the dynamic pulse of everyday Egyptian public and private life in his vibrant canvases.