Aziz Art October 2016

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William
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Ex
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October 2016
Iran
Arg-e Bam
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1-William
Bouguereau
9-Exhibition
10-Haydar
Hatemi
14-Competition
15-Arg-e Bam
18-Competition
Director: Aziz Anzabi
Editor : Nafiseh Yaghoubi
Translator : Asra Yaghoubi
Research: Zohreh Nazari
http://www.aziz_anzabi.com

William-Adolphe Bouguereau
Life and career
November 30, 1825 – August 19,
1905 was a French academic
painter and traditionalist. In his
realistic genre paintings he used
mythological themes, making
modern interpretations of classical
subjects, with an emphasis on the
female human body.During his
life he enjoyed significant
popularity in France and the
United States, was given
numerous official honors, and
received top prices for his work.
As the quintessential salon
painter of his generation, he was
reviled by the Impressionist
avant-garde.By the early
twentieth century, Bouguereau
and
his art fell out of favor with the
public, due in part
to changing tastes. In the 1980s,
a revival of interest in figure
painting led to a rediscovery of
Bouguereau and his work.
Throughout the course of his life,
Bouguereau executed 822 known
finished paintings, although the
whereabouts of many are still
unknown.
William-Adolphe Bouguereau was
born in La Rochelle, France, on
November 30, 1825, into a family of
wine and olive oil merchants. He
seemed destined to join the family
business but for the intervention of
his uncle Eugène, a Roman Catholic
priest, who taught him classical and
Biblical subjects, and arranged for
Bouguereau to go to high school.
He showed artistic talent early on.
His father was convinced by a client
to send him to the École des Beaux-
Arts in Bordeaux, where he won
first prize in figure painting for a
depiction of Saint Roch. To earn
extra money, he designed labels for
jams and preserves.
Through his uncle, Bouguereau was
given a commission to paint
portraits of parishioners, and when
his aunt matched the sum he
earned, Bouguereau went to Paris
and became a student at the École
des Beaux-Arts.To supplement his
formal training in drawing, he
attended anatomical dissections
and studied historical costumes and
archeology.
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He was admitted to the studio of
François-Édouard Picot, where he
studied painting in the academic
style. Academic painting placed the
highest status on historical and
mythological subjects and
Bouguereau won the coveted Prix
de Rome at age 26 in 1850,with
his Zenobia Found by Shepherds
on the Banks of the Araxes.His
reward was a year at the Villa
Medici in Rome, Italy, where in
addition to formal lessons he was
able to study first-hand the
Renaissance artists and their
masterpieces, as well as Greek,
Etruscan, and Roman antiquities.
He also studied classical literature,
which influenced his subject choice
for the rest of his career.
The Wave (1896)
Bouguereau, painting within the
traditional academic style,
exhibited at the annual exhibitions
of the Paris Salon for his entire
working life. An early reviewer
stated, "M. Bouguereau has a
natural instinct and knowledge of
contour. The eurythmie of the
human body preoccupies him,
and in recalling the happy results
which, in this genre, the ancients
and the artists of the sixteenth
century arrived at, one can only
congratulate M. Bouguereau in
attempting to follow in their
footsteps ... Raphael was inspired
by the ancients ... and no one
accused him of not being original."
Raphael was a favorite of
Bouguereau and he took this
review as a high compliment. He
had fulfilled one of the
requirements of the Prix de Rome
by completing an old-master copy
of Raphael’s The Triumph of
Galatea. In many of his works, he
followed the same classical
approach to composition, form,
and subject matter.Bouguereau's
graceful portraits of women were
considered very charming, partly
because he could beautify a sitter
while also retaining her likeness.
In 1856, he married Marie-Nelly
Monchablon and subsequently had
five children. By the late 1850s, he
had made strong connections with
art dealers, particularly Paul
Durand-Ruel (later the champion of
the Impressionists), who helped
clients buy paintings from artists
who exhibited at the Salons.

Thanks to Paul Durand-Ruel,
Bouguereau met Hugues Merle,
who later often was compared to
Bouguereau. The Salons annually
drew over 300,000 people,
providing valuable exposure to
exhibited artists. Bouguereau’s
fame extended to England by the
1860s, and he bought a large
house and studio
in Montparnasse with his
growing income.
The Birth of Venus (1879)
Bouguereau was a staunch
traditionalist whose genre
paintings and mythological
themes were modern
interpretations of Classical
subjects, both pagan and
Christian, with a concentration on
the naked female human body.
The idealized world of his
paintings brought to life
goddesses, nymphs, bathers,
shepherdesses, and madonnas
in a way that appealed to
wealthy art patrons
of the era.
Bouguereau employed traditional
methods of working up a painting,
including detailed pencil studies
and oil sketches, and his careful
method resulted in a pleasing and
accurate rendering of the human
form. His painting of skin, hands,
and feet was particularly admired.
He also used some of the religious
and erotic symbolism of the Old
Masters, such as the "broken
pitcher" which connoted lost
innocence.
Bouguereau received many
commissions to decorate private
houses, public buildings, and
churches. As was typical of such
commissions, Bouguereau would
sometimes paint in his own style,
and at other times conform to an
existing group style. Early on,
Bouguereau was commissioned in
all three venues, which added
enormously to his prestige and
fame. He also made reductions of
his public paintings for sale to
patrons, of which The Annunciation
(1888) is an example.He was also a
successful portrait painter and
many of his paintings of wealthy
patrons remain in private hands.
Bouguereau steadily gained the
honors of the Academy, reaching
Life Member in 1876, and
Commander of the Legion of Honor
and Grand Medal of Honor in 1885.

He began to teach drawing at the
Académie Julian in 1875, a co-ed
art institution independent of the
École des Beaux-Arts, with no
entrance exams and with nominal
fees.
In 1877, both his wife and infant
son died. At a rather advanced
age, Bouguereau was married for
the second time in 1896, to fellow
artist Elizabeth Jane Gardner
Bouguereau, one of his pupils.He
used his influence to open many
French art institutions to women
for the first time, including the
Académie française.
Near the end of his life he
described his love of his art: "Each
day I go to my studio full of joy; in
the evening when obliged to stop
because of darkness I can scarcely
wait for the next morning to come
... if I cannot give myself to
my dear painting I am
miserable."He painted 826
paintings.
In the spring of 1905,
Bouguereau's house and studio in
Paris were burgled. On August 19,
1905, Bouguereau died in La
Rochelle at the age of 79 from
heart disease.
Fame, fall, and rise
In his own time, Bouguereau was
considered to be one of the
greatest painters in the world by
the academic art community, and
simultaneously he was reviled by
the avant-garde. He also gained
wide fame in Belgium, the
Netherlands, Spain, and in the
United States, and commanded
high prices.
Bouguereau’s career was close to a
direct ascent with hardly a setback.
To many, he epitomized taste and
refinement, and a respect for
tradition. To others, he was a
competent technician stuck in the
past. Degas and his associates used
the term "Bouguereauté" in a
derogatory manner to describe any
artistic style reliant on "slick and
artificial surfaces", also known as a
licked finish. In an 1872 letter,
Degas wrote that he strove to
emulate Bouguereau’s ordered and
productive working style, although
with Degas' famous trenchant wit,
and the aesthetic tendencies of the
Impressionists, it is possible the
statement was meant to be
ironic.Paul Gauguin loathed him

ating him a round zero in
Racontars de Rapin and later
describing in Avant et après
(Intimate Journals) the single
occasion when Bouguereau made
him smile on coming across a
couple of his paintings in an Arles'
brothel, "where they belonged".
Bouguereau’s works were eagerly
bought by American millionaires
who considered him the most
important French artist of that
time. But even during his lifetime
there was critical dissent in
assessing his work; the art historian
Richard Muther wrote in 1894 that
Bouguereau was a man "destitute
of artistic feeling but possessing a
cultured taste reveals... in his
feeble mawkishness, the fatal
decline of the old schools of
convention." In 1926, American art
historian Frank Jewett Mather
criticized the commercial intent of
Bouguereau’s work, writing that the
artist "multiplied vague, pink
effigies of nymphs, occasionally
draped them, when they became
saints and madonnas, painted on
the great scale that dominates an
exhibition, and has had his reward.
I am convinced that the nude of
Bouguereau was prearranged to
meet the ideals of a New York
stockbroker of the black walnut
generation." Bouguereau confessed
in 1891 that the direction of his
mature work was largely a response
to the marketplace: "What do you
expect, you have to follow public
taste, and the public only buys
what it likes. That's why, with time,
I changed my way of painting."
After 1920, Bouguereau fell into
disrepute, due in part to changing
tastes.Comparing his work to that
of his Realist and Impressionist
contemporaries, Kenneth Clark
faulted Bouguereau’s painting for
"lubricity", and characterized such
Salon art as superficial, employing
the "convention of smoothed-out
form and waxen surface."
In 1974, the New York Cultural
Center staged a show of
Bouguereau's work partly as a
curiosity, although curator Robert
Isaacson had his eye on the longterm
rehabilitation of Bouguereau's
legacy and reputation.In 1984, the
Borghi Gallery hosted a commercial
show of 23 oil paintings and one
drawing. In the same year a major
exhibition was organized by the
Montreal Museum of Fine Arts in
Canada.

The exhibition opened at the
Musée du Petit-Palais, in Paris,
traveled to The Wadsworth
Atheneum in Hartford, and
concluded in Montréal. More
recently, resurgence in the artist's
popularity has been promoted by
American collector Fred Ross, who
owns a number of paintings by
Bouguereau and features him on
his website at Art Renewal Center
Since 1975 prices for
Bouguereau's works have
climbed steadily, with major
paintings selling at high prices:
$1,500,000 in 1998 for
The Heart's Awakening,
$2,600,000 in 1999 for
Alma Parens and Charity at
auction in May 2000 for
$3,500,000. Bouguereau's works
are in many public collections.
“Notre Dame des Anges” (“Our
Lady of the Angels")
was last shown publicly in the
United States at the World’s
Columbian Exhibition in
Chicago in 1893. In 2002 it was
donated to the Daughters
of Mary Mother of Our Savior,
an order of nuns is affiliated with
Clarence Kelly's Traditionalist
Catholic Society of St. Pius V. In
2009 the nuns sold it to an art
dealer for $450,000, who was able
to sell it for more than $2 million
dollars. Kelly was subsequently
found guilty by an Albany, New York
jury of defaming the dealer in
remarks made in a television
interview.."
As a teacher
From the 1860s, Bouguereau was
closely associated with the
Académie Julian where he gave
lessons and advice to art students,
male and female, from around the
world. During several decades he
taught drawing and painting to
hundreds, if not thousands, of
students. Many of them managed
to establish artistic careers in their
own countries, sometimes
following his academic style, and in
other cases, rebelling against it, like
Henri Matisse. He married his most
famous pupil, Elizabeth Jane
Gardner, after the death of his first
wife.

FLUX EXHIBTION
2 nd – 6 Th November 2016
140 Contemporary Artist
LONDON
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Haydar Hatemi
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Haydar Hatemi
Born March 3, 1945-
Hadishahr(Alamdar)is an Iranian
of Iranian Azerbaijani origin. artist
whose work is based on blends of
classical oriental styles such as
miniature and tazhib, with some
modern elements. His early
studies in art started at Tabriz's
Art Academy after finishing high
school in Tabriz, Iran.
Hatemi is a graduate of the
prestigious Fine Arts Academy of
Tehran University. He moved to
Turkey in 1983. He is one of the
most significant artists of the
Iranian and Azerbaijani diaspora.
He has been working under the
commission of the Qatari Royal
family for the last decade.
Early life
Hatemi, an Iranian Azerbaijani
started painting aged 14, while he
was continuing high school in
Tabriz. His early studies in art
started at Tabriz's Art Academy
after finishing Tabriz middle school,
Iran. It was during this time there
that he learned the tazhib
technique from Master Abduhl
Bageri and studied sculpture
techniques from Master Ashot
Babayan. He continued his art
studies at the Art Academy of
Tehran and was privileged to be
trained under masters Hussain
Behzad and Abu Talib Mugimi.
Shah's period
Hatemi soon gained celebrity status
during his sophomore year in
college when he won the national
award for designing the Takht-e-
Tavus medal for the international
Cancer Society. This award was
presented to him by the Queen of
Iran, Farah Pahlavi. Hatemi also
taught sculpture classes in Shahnaz
Pahlavi Art Academy.
During his college years in Tehran
University, Hatemi won first place in
multiple competitions which
included design of the Logo of the
Isfahan University and the Logo of
the Shahpur Petro-Chemicals.

He also designed the gold coins in
commemoration of the 2500th
anniversary of the Persian Empire.
Between 1972-1978, Hatemi
established the Design Art Center in
Tehran and produced very large
sculptures commissioned by the
Mayor of Tehran. His statue of Shah
Abbas on horseback is on display at
Isfahan's Square and a statue called
Birds and the Rock at Argentina
Square in Tehran.
After 1979 - Istanbul, Turkey
After the Iranian revolution,
Hatemi moved to Turkey with his
young family in 1983.
He continued his painting in Bursa
and Istanbul and started the
orientalist movement within the
Turkish art world. During this
period his paintings became part
of the Sabancı Collection and
many other private collections.
Paintings
Early in his career, Hatemi took
great interest in the tazhib
technique and miniature paintings
in particular. His main goal to apply
his style to Ottoman Empire theme
was very well received by the
Turkish art scene. His admiration
for miniature masters and his
desire to apply this to a newer
subjects lead to the creation of his
"Stories of the Messengers" series
in the early 2003 which became his
most celebrated and famous series.
In these series, Hatemi depicts
stories of messengers which are
common to Quran, Bible and Torah.
He also paints scenes of old
Istanbul which was commissioned
by the royal family of Qatar.
Istanbul & Istanbul series are the
best example for this technique.

Beyond Printmaking 5: 2017 National Juried Exhibition & Symposium
MARCH 25 - APRIL 23, 2017 | SUBMISSIONS DUE: NOVEMBER 30,
2016
Beyond Printmaking is an art competition and exhibition organized by the Printmaking Area
and Landmark Arts at Texas Tech School of Art. As much as printmaking has been loved for
its traditional resonance, its versatility applied in multimedia sees no limitations. In this 5th
exhibition, we are looking for artists who have a vision of printmaking beyond the
traditional practices, who push the technological and conceptual limits of what is
considered printmaking.
Beyond Printmaking 5 is a hybrid exhibition. While most of the works will be selected from
the submissions received, the curator will have an opportunity to "fill in the gaps" with
curated works, works of her own choosing from invited artists. This practice, first begun with
Beyond Printmaking 4, helps assure that the exhibition more fully explore and present the
expanded field of printmaking.
JUROR/CURATOR:
Patricia Villalobos Echeverria has a hybrid practice of photos, prints, videos and
installations. She has received numerous grants including a Creative Heights
Residency Fellowship from the Heinz Endowment and was a fellow at the
MacDowell Arts Colony. She received an MFA from West Virginia University and
a BFA from Louisiana State University. Her work was part of the "Post-Digital
Printmaking: Redefinition of the concept of matrix" at Neon Gallery (Wroclaw,
Poland) in 2015. She is Professor of Art at the Frostic School of Art, Western
Michigan University.
ELIGIBILITY:
Open to professional artists living in the U.S. who are 18 and older. All media
expanding the notion of printmaking, including time-based and installation, will
be considered. An artist's statement illuminating the artist's conception of
printmaking must be included with the entry. Work must be original and
completed within the last 2 years.
AWARDS:
$2500 in cash prizes to be awarded by the Juror at her discretion.
MORE INFORMATION & SUBMISSION GUIDELINES:
www.art.ttu.edu/BP5
14

The Arg-e Bam was the largest adobe building in the world, located in
Bam, a city in Kerman Province of southeastern Iran. It is listed by
UNESCO as part of the World Heritage Site "Bam and its Cultural
Landscape". The origin of this enormous citadel on the Silk Road can be
traced back to the Achaemenid Empire (sixth to fourth centuries BC)
and even beyond. The heyday of the citadel was from the seventh to
eleventh centuries, being at the crossroads of important trade routes
and known for the production of silk and cotton garments.
The entire building was a large fortress in whose heart the citadel itself
was located, but because of the impressive look of the citadel, which
forms the highest point, the entire fortress is named the Bam Citadel.
On December 26, 2003, the Citadel was almost completely destroyed
by an earthquake, along with much of the rest of Bam and its environs.
A few days after the earthquake, the President of Iran, Mohammad
Khatami, announced that the Citadel would be rebuilt.
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Dimensions
Larger than nearby Rayen Castle,
the area of Bam Citadel is
approximately 180,000 square
meters (44 acres), and it is
surrounded by gigantic walls 6–7
metres (20–23 ft) high and 1,815
metres (5,955 ft) long. The citadel
features two of the "stay-awake
towers" for which Bam is famed -
there are as many as 67 such
towers scattered across the ancient
city of Bam.
Citadel design and architecture
The planning and architecture
of the citadel are thought out
from different points of view.
From the present form of the
citadel one can see that the
planner(s) had
foreseen the entire final form of
the building and city from the
first steps in the planning process.
During each phase of building
development the already-built
part enjoyed a complete figure,
and each additional part could be
"sewn" into the existing section
seamlessly.
The citadel is situated in the center
of the fortress-city, on the point
with widest view for security.
In the architectural form of Bam
Citadel there are two different
distinguishable parts:
The rulers' part in the most internal
wall, holding the citadel, barracks,
mill, 4-season house, water-well
(dug in the rocky earth and about 40
metres deep), and a stable for 200
horses.
The ruled-over part surrounding the
rulers' place, consisting of the main
entrance of the entire fortress-city
and the bazaar alongside of the
North-to-South spinal axis (which
connects the main entrance to the
citadel), and around 400 houses
with their associated public
buildings (such as a school and sport
place).
Among the houses, three different
types are recognizable:
Smaller houses with 2-3 rooms for
the poor families.
Bigger houses with 3-4 rooms for
the middle social class, some of
which have also a veranda.

The most luxurious houses with more rooms oriented in different
directions suitable for different seasons of the year, together with a big
court and a stable for animals nearby. There are few of this type of
houses in the fortress.
All buildings are made of non-baked clay bricks, i.e. adobes. Bam
Citadel was probably, prior to the 2003 earthquake, the biggest adobe
structure in the world.
The Citadel was used as the major location site for Valerio Zurlini's film,
The Desert of the Tartars.

Oak Knoll Oak Woodland - Public Art Call
Deadline: October 28th, 2016
Public Art Call
SunCal, the master developer of the Oak Knoll community, Oakland, California is
seeking an artist or a team of artists who will create permanent art that respects
and takes advantage of the natural setting of the woodland. Artists will work
with the landscape architect to safely integrate the installation. This project will
require materials that are permanent, durable, weather resistant and low
maintenance.
Project Description
A 120-foot-wide by 930-foot-long woodland adjacent to Rifle Range Creek,
populated with mature oaks, will be preserved during development. A footpath
of decomposed granite will be installed through the length of the woodland
parallel with the creek. The footpath will connect to a pedestrian bridge at the
south and a community center at the north. During the Rifle Range Creek
restoration, the woodland will be cleared of all invasive species and debris
remaining from Naval activities, and arborists will assess the health of the trees.
Some damaged and diseased trees will need to be removed. However, the desire
is to preserve and protect the woodland.
Important Dates
Application deadline - October 28, 2016
Selection process - November 2016
Notification of three finalists - November 2016
Proposal presentation to selection panel - January 2017
Notification of finalist - January 2017
Contract negotiation - January 2017
Project installation - Spring 2019
For More Information:
Website: http://www.oakknollcommunity.com/public-art/
Download Prospectus (.PDF):
http://www.oakknollcommunity.com/i/oak_woodland_RFQ_final.pdf
Contact:
Philip Dow
(510) 427-4496
publicart@oakknollcommunity.com
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