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119
GHASEM HAJIZADEH (né en 1947)
The item was sold for 3 900 €
Fees include commission and taxes.
GHASEM HAJIZADEH (né en 1947)
Homme au turban, Paris, 1986
Watercolour on paper, signed, located and dated lower centerWatercolour on paper, signed, located and dated lower center 75.8 x 112 cm à vue 29 7/8 x 44 15/16 in.
We would like to thank Mr Ghasem Hajizadeh for having kindly confirmed the authenticity of this work
PROVENANCE Private collection, Lyon area
Like this Portrait of a Man, Hajizadeh’s work is characterised by a series of characters with varying proportions and a variety of imaginary landscapes| their rationality is disrupted, and the processes of Pop Art find a new use. The artist appropriates popular imagery, exalting it in imposing formats and elevating it to a kind of Surrealism, combining tradition and modernity
For example, in Man in a Turban we find the characteristics of traditional Oriental representation associated with a spontaneous, contemporary style tinged with humour. Here we find the cross piercing the chest, this time clearly explained by the arrow and the path traced in dotted lines through the body. Landscapes and characters are still represented within the garment: the soul translated into images merges with the body, becoming one with it. The coat also seems to have holes in it, as if pierced by a series of bullets. Yet the ornaments seem marvellous, especially as the coat is spread out, almost ignoring the volume of the body, and occupies a large part of the space, like one of Klimt’s mantles.
The Bride and Groom shows how Hajizadeh was inspired by 19th century Iranian painting in the Qajar style, including murals, sometimes appropriating the old-fashioned style typical of the royal family’s official portraits. The cool, peaceful colours still evoke a certain melancholy and nostalgia for a bygone time. The prominence of the landscape and small size of the couple echo the Surrealism of Hajizadeh’s proportions, but above all suggest that the bride and groom are distant from the person looking at the picture, l
Homme au turban, Paris, 1986
Watercolour on paper, signed, located and dated lower centerWatercolour on paper, signed, located and dated lower center 75.8 x 112 cm à vue 29 7/8 x 44 15/16 in.
We would like to thank Mr Ghasem Hajizadeh for having kindly confirmed the authenticity of this work
PROVENANCE Private collection, Lyon area
Like this Portrait of a Man, Hajizadeh’s work is characterised by a series of characters with varying proportions and a variety of imaginary landscapes| their rationality is disrupted, and the processes of Pop Art find a new use. The artist appropriates popular imagery, exalting it in imposing formats and elevating it to a kind of Surrealism, combining tradition and modernity
For example, in Man in a Turban we find the characteristics of traditional Oriental representation associated with a spontaneous, contemporary style tinged with humour. Here we find the cross piercing the chest, this time clearly explained by the arrow and the path traced in dotted lines through the body. Landscapes and characters are still represented within the garment: the soul translated into images merges with the body, becoming one with it. The coat also seems to have holes in it, as if pierced by a series of bullets. Yet the ornaments seem marvellous, especially as the coat is spread out, almost ignoring the volume of the body, and occupies a large part of the space, like one of Klimt’s mantles.
The Bride and Groom shows how Hajizadeh was inspired by 19th century Iranian painting in the Qajar style, including murals, sometimes appropriating the old-fashioned style typical of the royal family’s official portraits. The cool, peaceful colours still evoke a certain melancholy and nostalgia for a bygone time. The prominence of the landscape and small size of the couple echo the Surrealism of Hajizadeh’s proportions, but above all suggest that the bride and groom are distant from the person looking at the picture, l