Home page

Global notice COVID-19 Important notice
Fatima Al Hajj (Lebanese, b. 1953)
These lots have been imported from outside the EU … Read more PROPERTY FROM THE PRIVATE COLLECTION OF MR YAHYA SOLAYEM, DIRECTOR OF BOUCHEHRI GALLERY, KUWAIT
Fatima Al Hajj (Lebanese, b. 1953)

Al Nahda Al Ilmiya inda Al Arab (The Arab Scientific Renaissance)

Details
Fatima Al Hajj (Lebanese, b. 1953)
Al Nahda Al Ilmiya inda Al Arab
(The Arab Scientific Renaissance)
signed in Arabic; signed and dated ‘Fatima El Hajj 14’ (lower right of the right-most panel)
oil on canvas, in three parts
each: 76 ¾ x 44 7/8 in. (195 x 114cm.)
overall: 76 3/4 x 134 2/3 in. (195 x 342cm.)
(3)Painted in 2014
Provenance
Acquired directly from the artist by the present owner.
Special Notice

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.
This lot will be removed to Christie’s Park Royal. Christie’s will inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at Christies.com/storage and our fees for storage are set out in the table below - these will apply whether the lot remains with Christie’s or is removed elsewhere. Please call Christie’s Client Service 24 hours in advance to book a collection time at Christie’s Park Royal. All collections from Christie’s Park Royal will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm. Lots are not available for collection at weekends.

Lot Essay


The selected work is a magnificent painting from the renowned painter, Fatima Al Hajj. Al Hajj dedicates this piece to her Arabic culture, more specifically, the Islamic Golden Age and the scientific renaissance that it sparked. This triptych refers to the major role of Arabs in the discovery and development of the sciences, a topic which is widely overlooked. Al-Hajj is deeply fascinated by the variety and complexity of the sciences, a feeling depicted beautifully within this sprawling composition that is scattered with symbols and themes that pay homage to the ever-growing history of science.

Within the work, the center of the piece refers to architecture and geography, especially embodied by the symbol of the traveler, represented by various figures that have been abstracted to the point of merging with their surroundings. On either side of the center piece, she uniquely depicts themes of anatomy and medicine, as her expressionist style overtakes the figurative symbols which are deeply infused in the three sections. Upon closer inspection, the viewer can see the frame of a machine in the top left corner, resembling an electric motor to allude to the discovery of electricity. A group of students, which can be seen to the left of the center, embodies the existential theme of knowledge and ongoing education.

Al-Hajj manages to employ her distinct style within this work, regardless of subject matter. Her mastery of landscape paintings is evident as the triptych is used to capture a vast space filled with various subjects. The deep yellow hue that encompasses the painting ties the many scientific references harmoniously, as she contrasts this with hints of blue and red, achieving a lyrical atmosphere. Al-Hajj typically paints on large canvases such as the present work, as it allows an ease of transition to the verge of abstraction.
The artist strives to remind her audience that this period existed with great importance in the general timeline of science, taking the viewer to a time far before the domination of Western beliefs and the effect they have on the rest of the world. Her many references in this composition stress that the foundation of science must not be overlooked in terms of its contributors.

More from Middle Eastern, Modern and Contemporary Art

View All
View All