THE ARMORY SHOW 2015 - DIA AL-AZZAWI + SHAFIC ABBOUD - Stand 630.

Du 4 mars au 27 avril 2015 - NEW YORK, The Armory Show, 4-8 mars 2015.

  • Dia Al-Azzawi, Gilgamesh 2.

    Gilgamesh 2, 1987. Technique mixte sur papier marouflé sur toile, 160 x 120 cm. Collection privée. © Dia Al-Azzawi. Courtesy Galerie Claude Lemand, Paris.

  • Abboud, Les cafés engloutis.

    Les cafés engloutis, 1990. Huile sur toile, 115 x 125 cm. Collection privée. © Succession Shafic Abboud. Courtesy Galerie Claude Lemand, Paris.

  • Abboud, Gentilly, rue du Souvenir.

    Gentilly, rue du Souvenir, 1966. Huile sur toile, 115 x 73 cm. Collection privée. © Succession Shafic Abboud. Courtesy Galerie Claude Lemand, Paris.

  • Dia Al-Azzawi, The Wounded Soul Triptych

    The Wounded Soul Triptych, 2014. Acrylique sur toile, 150 x 450 cm. Collection privée. © Dia Al-Azzawi. Courtesy Galerie Claude Lemand, Paris.

  • Dia Al-Azzawi, Complex Plant

    Complex Plant, 2014. Acrylique sur toile, 120 x 100 cm. Collection privée. © Dia Al-Azzawi. Courtesy Galerie Claude Lemand, Paris.

NEW YORK - The Armory Show 2015 - 4-8 mars 2015 - FOCUS - Stand 630 - Claude Lemand Gallery.

SHAFIC ABBOUD + DIA AL-AZZAWI

1. Shafic Abboud (Lebanese, 1926-2004).
Historic mas­ter­pie­ces from European pri­vate col­lec­tions.
Claude Lemand. ‘Shafic Abboud is one of the fore­most Arab Artists of the 20th cen­tury. His pain­tings are a mani­festo for free­dom, colour and light, as well as being a per­ma­nent bridge bet­ween the art of Europe and the Middle East. He was very atta­ched to Lebanon, to its land­sca­pes, its light and his own child­hood memo­ries. He was from a Lebanese Arab Modern culture, stron­gly influen­ced by the sto­ries of his grand­mo­ther, the pain­tings of the tra­vel­ling story-tel­lers and by the Byzantine icons. The wri­tings of the Arab Nahda were to later have a signi­fi­cant impact on his intel­lec­tual edu­ca­tion. He played in Lebanon, before 1976 and after 1993, a major role for Beirut’s cultu­ral and artis­tic life. (…). His mature works are ‘trans­fi­gu­ra­tive’, because of Abboud’s search for a syn­the­sis bet­ween his fairy-tale like child­hood world and his tech­ni­cal mas­te­ring of abs­tract Parisian pain­ting. He trans­fi­gu­red images fil­te­red from his memory into pain­ting, such as his series of Destroyed Cafés of 1990. (…).’ (Claude Lemand, Paris 2011)

Claude Lemand held 15 solo shows of works from dif­fe­rent periods and aspects of his Art, wrote ana­ly­sis on his per­so­na­lity, works and influence, publi­shed his Monograph in 2006, cura­ted his Retrospective in 2011 in Paris at the Institut du Monde Arabe and publi­shed the Catalogue. In 2012, he ini­tia­ted his Retrospective in the Beirut Exhibition Center.

2. Dia Al-Azzawi (Baghdad, born 1939).
Dia Al-Azzawi was a close young friend of Shafic Abboud, and his sup­por­ter during the 1980s and the 1990s. They met many times in Abboud’s studio in Paris, had group exhi­bi­tions in Paris, London and Beirut, and par­ti­ci­pa­ted in solo and group exhi­bi­tions in Galerie Faris (1983-1991) and then in my gal­lery (since 1995).

Dia Al-Azzawi is one of my gal­lery’s Modern Arab major Artists since November 1994. I hold in my gal­lery and in French Museums, Institutions and Fairs solo and group exhi­bi­tions of his works. My gal­lery pro­du­ced some of his ori­gi­nal books, port­fo­lios of prints and 4 sculp­tu­res in bronze, inclu­ding the monu­men­tal Desert Flower, 2008, now in the Mathaf Doha col­lec­tions.

My gal­lery was the first person to show in the West Dia Al-Azzawi’s Sabra and Shatila Massacres, 1982-83. It was in 2003 in Aix-en-Provence, an Homage to the Palestinian poet Mahmoud Darwish. This Polyptych is now in The Tate Modern col­lec­tions.
In 2013, I showed in Paris Grand Palais his first his­to­ric mas­ter­piece Al-Mu’alla­qat (The Golden Odes, London, 1978) and his magni­fi­cent his­to­ri­cal Triptych Bilad Al-Sawad, 1994-1995, illus­tra­ted with other works and com­men­ted in the Catalogue I publi­shed in 2013.

Dia Al-Azzawi. ‘ My work is part of the Renaissance of Arab Art trend, yet it is uni­ver­sal in its dimen­sion and inter­lo­cked within contem­po­rary his­tory and culture.’

Claude Lemand. ‘ His impor­tant Paintings, Drawings, Sculptures, Books and Prints are ins­pi­red by the Nature, Culture and History of Iraq and the Arab World, in a posi­tive and modern vision of Art and Life. Part of his oeuvre is tragic and shows Picasso’s influence in Azzawi’s works ins­pi­red by the slaugh­ters and other vio­lent events raging through the Middle East since deca­des, and the other part is wit­nes­sing the impact of Matisse in his more joyful and colour­ful works that depict the ‘joie de vivre’ in the Desert and in the Oriental Gardens of the Arab Civilisation in its opu­lent periods.’

Copyright © Galerie Claude Lemand 2012.

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