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Lot Essay
Coming from the artist estate, Rural Family is a seminal example from modern Iraqi master Mahmoud Sabri, produced during his sought after 1960s decade when his works reflected a pivotal transition moment in Iraqi history. Sabri is long recognised as one of the most important figures in building the foundations of Modern Iraqi art, his voice represented an important point of departure from the other known figures of the Iraqi art scene, including Jewad Selim and Faeq Hassan, among others who were set in depicting Iraqi heritage.
Painted in earthtone colours and focusing on the plight of the rural communities in Iraq, Rural Family reveals Sabri’s versatility in colour and line, with precision and details depicting a rural scene. The hierarchy and careful placement of the figures, a reference to Christian Icons Sabri admired, is flanked by elements of nationalist fervour: a family scene in mourning, workers, a horse, in addition to a man holding a spade, another symbol heavy with communist tendencies. To the bottom right is a tree root with one sparing leaf growing, that can be interpreted as a symbol of hope, pride and endurance juxtaposed with the figures in mourning. These elements appear as if to impart the sense that communism is not dead, but rather will live on with the people and indicates the Ba'athists' taking power will have on future generations.
Additionally on offer from the Estate is Farmer Family, a work on paper from the same period and considered part of the sketch works for larger scenes such as Rural Family; the artist here able to explore contrasted tones in blues, reds and yellows that he is most noted for, and as exemplified in the depicted two workers underneath the piercing red sun.
Although holding a crucial role in the Iraqi modern art movement, Sabri’s place in history has perhaps been unfairly shadowed by the fact that he stood strongly against the many themes that other artists of the time were exploring. As a rebel against the current political status of Iraq of the day, Sabri wrote a manifesto asserting his political stance against the fascist nature of the Ba’ath Party. This manifesto, and his constant agitation towards the party, ultimately led to his self-exile. The artist’s opinion about current affairs and socialistic theories helped to establish an assorted awareness in Iraq and the Middle East pushing development in artistic expression.
In 1960 Sabri left for Russia to study at the Surikov Institute of Art under the artist Alexander Deyneka, who was very impressed with his work. While there, Sabri was inspired by Russian icons, sculpture and paintings. Departing for Russia caused many to believe that the artist was pro-Communist. Sabri's style following this period shows a direct link stylistically to iconography with a palette that reached beyond his classical use of blacks and reds, and in which he reflects the versatility of the palette in Rural Family and Farmer Family.
Amidst this landscape surfaced key art groups such as the Baghdad Group for Modern Art, led by Jewad Selim and Shaker Hassan Al Said in 1951, and Ar-Ruwwad (the Pioneers) founded by Faeq Hassan in 1950. Belonging to Ar-Ruwwad, Sabri was keen to paint on the streets ‘directly from the surrounding environment’ – oftentimes visiting Iraq’s rural areas as is depicted in both scenes.
Due to the changing political climate of 1950s Iraq which developed a deep rift between the higher and lower classes, involvement in the life of the hardships of the poor and dispossessed became a distinguishing mark of a majority of Iraqi art in the early and mid-1950s.
During this time Sabri was preoccupied with using his works to highlight social and political issues, Rural Family is a fine example, as a way to show the plight of the people. The artist’s focus became partly political, partly existential and so the treatment of his social themes was full of pain, protest and anger depicting revolutionaries, poverty, floods and demonstrations; his individuals became characterised by a leanness and toughness that cemented Sabri's stance on social issues.
Sabri’s works are found in numerous international and regional museum collections, including Barjeel Art Foundation, Sharjah and MATHAF: Arab Museum of Modern Art, Doha, among others. The artist has gained critical attention with a posthumous retrospective in La Galleria Pall Mall, London, co-organised by Yasmin Sabri, the artist’s daughter and Iraqi artist Satta Hashem.
Painted in earthtone colours and focusing on the plight of the rural communities in Iraq, Rural Family reveals Sabri’s versatility in colour and line, with precision and details depicting a rural scene. The hierarchy and careful placement of the figures, a reference to Christian Icons Sabri admired, is flanked by elements of nationalist fervour: a family scene in mourning, workers, a horse, in addition to a man holding a spade, another symbol heavy with communist tendencies. To the bottom right is a tree root with one sparing leaf growing, that can be interpreted as a symbol of hope, pride and endurance juxtaposed with the figures in mourning. These elements appear as if to impart the sense that communism is not dead, but rather will live on with the people and indicates the Ba'athists' taking power will have on future generations.
Additionally on offer from the Estate is Farmer Family, a work on paper from the same period and considered part of the sketch works for larger scenes such as Rural Family; the artist here able to explore contrasted tones in blues, reds and yellows that he is most noted for, and as exemplified in the depicted two workers underneath the piercing red sun.
Although holding a crucial role in the Iraqi modern art movement, Sabri’s place in history has perhaps been unfairly shadowed by the fact that he stood strongly against the many themes that other artists of the time were exploring. As a rebel against the current political status of Iraq of the day, Sabri wrote a manifesto asserting his political stance against the fascist nature of the Ba’ath Party. This manifesto, and his constant agitation towards the party, ultimately led to his self-exile. The artist’s opinion about current affairs and socialistic theories helped to establish an assorted awareness in Iraq and the Middle East pushing development in artistic expression.
In 1960 Sabri left for Russia to study at the Surikov Institute of Art under the artist Alexander Deyneka, who was very impressed with his work. While there, Sabri was inspired by Russian icons, sculpture and paintings. Departing for Russia caused many to believe that the artist was pro-Communist. Sabri's style following this period shows a direct link stylistically to iconography with a palette that reached beyond his classical use of blacks and reds, and in which he reflects the versatility of the palette in Rural Family and Farmer Family.
Amidst this landscape surfaced key art groups such as the Baghdad Group for Modern Art, led by Jewad Selim and Shaker Hassan Al Said in 1951, and Ar-Ruwwad (the Pioneers) founded by Faeq Hassan in 1950. Belonging to Ar-Ruwwad, Sabri was keen to paint on the streets ‘directly from the surrounding environment’ – oftentimes visiting Iraq’s rural areas as is depicted in both scenes.
Due to the changing political climate of 1950s Iraq which developed a deep rift between the higher and lower classes, involvement in the life of the hardships of the poor and dispossessed became a distinguishing mark of a majority of Iraqi art in the early and mid-1950s.
During this time Sabri was preoccupied with using his works to highlight social and political issues, Rural Family is a fine example, as a way to show the plight of the people. The artist’s focus became partly political, partly existential and so the treatment of his social themes was full of pain, protest and anger depicting revolutionaries, poverty, floods and demonstrations; his individuals became characterised by a leanness and toughness that cemented Sabri's stance on social issues.
Sabri’s works are found in numerous international and regional museum collections, including Barjeel Art Foundation, Sharjah and MATHAF: Arab Museum of Modern Art, Doha, among others. The artist has gained critical attention with a posthumous retrospective in La Galleria Pall Mall, London, co-organised by Yasmin Sabri, the artist’s daughter and Iraqi artist Satta Hashem.