.jpg?w=1)
.jpg?w=1)
拍品專文
Ammar Farhat, born in 1911 in Beja, Tunisia, is regarded as one of the most influential figures in the Tunisian art scene. A self-taught artist, Farhat began expressing his interest in art by producing charcoal portraits and showcasing them in local cafes. His breakthrough came in 1938 when, along with other prominent artists, he partook in the group exhibition at the Salon de Tunis. Upon his return from his travels in Europe the following decade, Farhat co-founded the École de Tunis, together with artists like Abdelaziz Gorgi, Pierre Boucherle, and his wife, Safia Farhat.
In his quest to foster an authentic expression and give Tunisian art a distinct voice, Farhat broke away from Orientalist conventions, instead, he captured the daily rhythms of Tunisia’s working-class – bustling market scenes, local rituals, and musical traditions. His paintings evoke a poignant sense of nostalgia, reminiscent of a Tunisia eclipsed by vestiges of colonial rule.
The present work, painted in 1962, is a striking example of Farhat’s artistic practice. The painting depicts four figures dressed in traditional Tunisian attire. The subjects stand out against an ochre background, layered with bright, expressive colours, consistent with Farhat’s affinity for warm tones of yellows, oranges, and earthy browns. While his bold contours, influenced by Georges Braque, add structure and vitality to the composition, the artist also maintains a level of detail through intricately painted face tattoos and textile patterns. Thus, by focusing on a more authentic depiction of Tunisian people and embracing a figurative style, Farhat visually evidences his rejection of Orientalist vestiges in the Tunisian art scene, consolidating his contributions to the country’s post-colonial movement.
In his quest to foster an authentic expression and give Tunisian art a distinct voice, Farhat broke away from Orientalist conventions, instead, he captured the daily rhythms of Tunisia’s working-class – bustling market scenes, local rituals, and musical traditions. His paintings evoke a poignant sense of nostalgia, reminiscent of a Tunisia eclipsed by vestiges of colonial rule.
The present work, painted in 1962, is a striking example of Farhat’s artistic practice. The painting depicts four figures dressed in traditional Tunisian attire. The subjects stand out against an ochre background, layered with bright, expressive colours, consistent with Farhat’s affinity for warm tones of yellows, oranges, and earthy browns. While his bold contours, influenced by Georges Braque, add structure and vitality to the composition, the artist also maintains a level of detail through intricately painted face tattoos and textile patterns. Thus, by focusing on a more authentic depiction of Tunisian people and embracing a figurative style, Farhat visually evidences his rejection of Orientalist vestiges in the Tunisian art scene, consolidating his contributions to the country’s post-colonial movement.