November 2016

Btes
Museum
of Art
AzizArt
Novamber2016
Khosrow
Hassanzadeh
Iran
Ardabil
Lucian Michael Freud
Guity
Novin

2-Khosrow
Hassanzadeh
5-Lucian Michael Freud
15-Guity Novin
19-Ardabil
irector: Aziz Anzabi
ditor : Nafiseh Yaghoubi
ranslator : Asra Yaghoubi
esearch: Zohreh Nazari
http://www.aziz_anzabi.com

Khosrow Hassanzadeh
born 1963 in Tehran
is an Iranian painter. He is known
for his "Terrorist" collection.
Hassanzadeh was born in 1963 in
Tehran, to a working class
Azerbaijani family and currently
lives and works in Tehran,
where he works as an actor and
visual artist. His work featured in
many exhibitions in Europe
and the Middle East.
Hassanzadeh works primarily
with painting, silkscreen and
mixed media. His works often
deal with issues that
are considered sensitive
in Iranian society and therefore
he is frequently referred to as a
'political' artist. Hassanzadeh first
gained international recognition
with
War (1998), a grim and trenchant
diary of his own experiences as a
volunteer soldier during the Iran-
Iraq war (1980–1988). In Ashura
(2000) a 'women-friendly'
interpretation of the most
revered Shiite religious ceremony,
he depicted chador-clad women
engulfed by religious iconography.
Chador (2001) and Prostitutes
(2002) continued his exploration of
sociological themes particular to
Iran's hyper-gendered urban
landscape. The latter paintings used
police mug shots to pay tribute to
sixteen prostitutes killed by a serial
killer in Mashhad, a religious capital
of Iran. The paintings were created
after filmmaker Maziar Bahari
commissioned Hassanzadeh to
create a poster for his film, And
Along Came a Spider. In Terrorist
(2004) the artist questions the
concept of 'terrorism' in
international politics by portraying
himself, his mother and sisters as
'terrorists'.
He studied painting at Mojtama-e-
Honar University (1989–91) and
Persian Literature at Azad
University (1995–99), both in
Tehran. Khosrow Hassanzadeh has
had solo shows in Amsterdam,
Beirut, Dubai, London, Phnom
Penh, and Tehran. His work is held
by the British Museum, the Tehran
Museum of Contemporary Art, the
World Bank and the
Tropenmuseum.
2

5

Lucian Michael Freud
8 December 1922 – 20 July 2011
was a German-born British painter
and draftsman, specialising in
figurative art, and is known as one
of the foremost 20th-century
portraitists.
He was born in Berlin, the son of a
Jewish architect and the grandson
of Sigmund Freud. His family
moved to Britain in 1933 to
escape the rise of Nazism. From
1932-33 he attended Goldsmiths
College, London. He enlisted in the
Merchant Navy during World War
II.
His early career as a painter was
influenced by surrealism, but by
the early 1950s his often stark and
alienated paintings tended
towards realism. Freud was an
intensely private and guarded
man, and his paintings, completed
over a 60-year career,
are mostly of friends and family.
They are generally somber and
thickly impastoed, often set in
unsettling interiors and city
scapes.
The works are noted for their
psychological penetration and often
discomforting examination of the
relationship between artist and
model. Freud worked from life
studies, and was known for asking
for extended and punishing sittings
from his models.
Early life and family
Born in Berlin, Freud was the son of
a German Jewish mother, Lucie
(née Brasch), and an Austrian
Jewish father, Ernst L. Freud, an
architect.He was a grandson of
Sigmund Freud, and elder brother
of the broadcaster, writer and
politician Clement Freud (thus
uncle of Emma and Matthew
Freud) and the younger brother of
Stephan Gabriel Freud.
The family emigrated to St John's
Wood, London, in 1933 to escape
the rise of Nazism. Lucian became a
British subject in 1939, having
attended Dartington Hall School in
Totnes, Devon, and later Bryanston
School, for a year before being
expelled due to disruptive
behaviour.

Early career
frequent visitor to Dublin where he
Freud briefly studied at the Central would share Patrick Swift's studio.
School of Art in London, and from In late 1952, Freud and Lady
1939 to 1942 with greater success Caroline Blackwood eloped to Paris
at Cedric Morris' East Anglian where they married in 1953. He
School of Painting and Drawing in remained a Londoner for the rest of
Dedham, relocated in 1940 to his life.
Benton End, a house near Freud was part of a group of
Hadleigh, Suffolk. He also figurative artists later named "The
attended Goldsmiths' College, part School of London".This was more a
of the University of London, in loose collection of individual artists
1942–43. He served as a merchant who knew each other, some
seaman in an Atlantic convoy in intimately, and were working in
1941 before being invalided out of London at the same time in the
service in 1942.In 1943, the poet figurative style (but during the
and editor Meary James
boom years of abstract painting).
Thurairajah Tambimuttu
The group was led by figures such
commissioned the young artist to as Francis Bacon and Freud, and
illustrate a book of poems by included Frank Auerbach, Michael
Nicholas Moore entitled The Glass Andrews, Leon Kossoff, Robert
Tower. It was published the Colquhoun, Robert MacBryde,
following year by Editions Poetry Reginald Gray and Kitaj himself. He
London and comprised, among was a visiting tutor at the Slade
other drawings, a stuffed zebra School of Fine Art of University
and a palm tree. Both subjects College London from 1949 to 1954.
reappeared in The Painter's Room Mature style
on display at Freud's first solo Freud's early paintings, which are
exhibition in 1944 at the Alex Reid mostly very small, are often
& Lefevre Gallery. In the summer associated with German
of 1946, he travelled to Paris Expressionism (an influence he
before continuing to Greece for tended to deny) and Surrealism in
several months to visit John depicting people,
Craxton. In the early fifties he was a

plants and animals in unusual
juxtapositions. Some very early
works anticipate the varied flesh
tones of his mature style, for
example Cedric Morris (1940,
National Museum of Wales), but
after the end of the war he
developed a thinly painted very
precise linear style with muted
colours, best known in his selfportrait
Man with Thistle (1946,
Tate) and a series of large-eyed
portraits of his first wife, Kitty
Garman, such as Girl with a Kitten
(1947, Tate). These were painted
with tiny sable brushes and evoke
Early Netherlandish painting.
From the 1950s, he began to focus
on portraiture, often nudes
(though his first full length nude
was not painted until 1966), to the
almost complete exclusion of
everything else, and by the middle
of the decade developed a much
more free style using large hogshair
brushes, concentrating on the
texture and colour of flesh, and
much thicker paint, including
impasto. Girl with a white dog,
1951–1952, (Tate) is an example of
a transitional work in this process,
sharing many characteristics with
paintings before and after it, with
relatively tight brushwork and a
middling size and viewpoint. He
would often clean his brush after
each stroke when painting flesh, so
that the colour remained constantly
variable. He also started to paint
standing up, which continued until
old age, when he switched to a high
chair.The colours of non-flesh areas
in these paintings are typically
muted, while the flesh becomes
increasingly highly and variably
coloured. By about 1960, Freud had
established the style that he would
use, with some changes, for the
rest of his career. The later portraits
often use an over life-size scale, but
are of mostly relatively small heads
or in half-lengths. Later portraits
are often much larger. In his late
career he often followed a portrait
by producing an etching of the
subject in a different pose, drawing
directly onto the plate, with the
sitter in his view.
Freud's portraits often depict only
the sitter, sometimes sprawled
naked on the floor or on a bed or
alternatively juxtaposed with
something else, as in Girl With a
White Dog (1951–52) and Naked
Man With Rat (1977–78).According
to Edward Chaney,

"The distinctive, recumbent
manner in which Freud poses so
many of his sitters suggests the
conscious or unconscious
influence both of his
grandfather's psychoanalytical
couch and of the Egyptian
mummy,
his dreaming figures, clothed or
nude, staring into space until
(if ever) brought back to health
and/or consciousness. The
particular application of
this supine pose to freaks,
friends, wives, mistresses, dogs,
daughters and mother alike
(the latter regularly depicted
after her suicide attempt and
eventually, literally mummylike
in death),
tends to support this hypothesis."
The use of animals in his
compositions is widespread, and
often he features a pet and its
owner. Other examples of
portraits with both animals and
people in Freud's work include
Guy and Speck (1980–81),
Eli and David (2005–06) and
Double Portrait (1985–86).
He had a special passion for horses,
having enjoyed riding at school in
Dartington, where he sometimes
slept in the stables.His portraits
solely of horses include Grey
Gelding (2003), Skewbald Mare
(2004), and Mare Eating Hay
(2006). Wilting houseplants feature
prominently in some portraits,
especially in the 1960s, and Freud
also produced a number of
paintings purely of plants.Other
regular features included
mattresses in earlier works, and
huge piles of the linen rags with
which he used to clean his brushes
in later ones.Some portraits,
especially in the 1980s, have very
carefully painted views of London
roofscapes seen through the studio
windows.
Freud's subjects, who needed to
make a very large and uncertain
commitment of their time, were
often the people in his life; friends,
family, fellow painters, lovers,
children. He said, "The subject
matter is autobiographical, it's all to
do with hope and memory and
sensuality and involvement, really.

"However the titles were mostly
anonymous, and the identity of the
sitter not always disclosed; the
Duke and Duchess of Devonshire
had a portrait of one of Freud's
daughters as a baby for several
years before he mentioned
who the model was. In the 1970s
Freud spent 4,000 hours on a
series of paintings of his mother,
about which art historian
Lawrence Gowing observed
"it is more than 300 years since a
painter showed as directly and as
visually his relationship with his
mother. And that was Rembrandt."
Freud painted from life, and
usually spend a great deal of time
with each subject, demanding the
model's presence even while
working on the background of the
portrait. A nude completed
in 2007 required sixteen
months of work, with the model
posing all but four evenings during
that time; with each session
averaging five hours, the painting
took approximately 2,400 hours to
complete. A rapport with his
models was necessary,
and while at work, Freud was
characterised as "an outstanding
raconteur and mimic". Regarding
the difficulty in deciding when a
painting is completed, Freud said
that "he feels he's finished when he
gets the impression he's working on
somebody else's painting".
Paintings were divided into day
paintings done in natural light and
night paintings done under artificial
light, and the sessions, and lighting,
were never mixed.
It was Freud's practice to begin a
painting by first drawing in charcoal
on the canvas. He then applied
paint to a small area of the canvas,
and gradually worked outward from
that point. For a new sitter, he
often started with the head as a
means of "getting to know" the
person, then painted the rest of the
figure, eventually returning to the
head as his comprehension of the
model deepened. A section of
canvas was intentionally left bare
until the painting was finished.The
finished painting is an accumulation
of richly worked layers of pigment,
as well as months of intense
observation.

Later career
Freud painted fellow artists,
including Frank Auerbach and
Francis Bacon and produced a
large number of portraits of the
performance artist Leigh Bowery,
and also painted Henrietta
Moraes, a muse to many Soho
artists. A series of huge nude
portraits from the mid-1990s
depicted the very large Sue Tilley,
or "Big Sue", some using her job
title of "Benefits Supervisor" in the
title of the painting, as in his 1995
portrait Benefits Supervisor
Sleeping, which in May 2008 was
sold by Christie's in New York for
$33.6 million, setting a world
record auction price for a living
artist.
Freud's most consistent model in
his later years was his studio
assistant and friend David Dawson,
the subject of his final, unfinished
work.Towards the end of his life he
did a nude portrait of model Kate
Moss. Freud was one of the best
known British artists working in a
representational style, and was
shortlisted for the
Turner Prize in 1989
His painting After Cézanne, notable
because of its unusual shape, was
purchased by the National Gallery
of Australia for $7.4 million. The
top left section of this painting has
been 'grafted' on to the main
section below, and closer
inspection reveals a horizontal line
where these two sections were
joined.
In 1996, the Abbot Hall Art Gallery
in Kendal mounted a major
exhibition of 27 paintings and
thirteen etchings, covering Freud's
output to date. The following year
the Scottish National Gallery of
Modern Art presented "Lucian
Freud: Early Works". The exhibition
comprised around 30 drawings and
paintings done between 1940 and
1945.This was followed by a large
retrospective at Tate Britain in
2002. In 2001, Freud completed a
portrait of Queen Elizabeth II. There
was criticism of the portrayal in
some sections of the British media.
The Sun was particularly
condemnatory, describing the
portrait as "a travesty". In 2005, a
retrospective of Freud's work was
held at the Museo Correr in Venice

scheduled to coincide with the Biennale. In late 2007, a collection of
etchings went on display at the Museum of Modern Art.
Freud died in London on 20 July 2011 and is buried in Highgate
Cemetery. Archbishop Rowan Williams officiated at the private funeral
Art market
In 2008, Benefits Supervisor Sleeping (1995), a portrait of civil servant
Sue Tilley, sold for $33.6 million – the highest price ever at the time for
a work by a living artist. On 13 October 2011, his 1952 Boy's Head, a
small portrait of Charlie Lumley, his neighbour, reached $4,998,088 at
Sotheby's London Contemporary art evening auction, making it one of
the highlights of the 2011 auction autumn season.
At a Christie's New York auction in 2015, Benefits Supervisor Resting
sold for $56.2 million

Personal life
Freud is rumoured to have
fathered as many as forty children
although this number is generally
accepted as an exaggeration.
Fourteen children have been
identified, two from Freud's first
marriage and 12 by various
mistresses.
After an affair with Lorna Garman,
he went on to marry, in 1948, her
niece Kathleen "Kitty" Epstein,
daughter of sculptor Jacob Epstein
and socialite Kathleen Garman.
They had two daughters, Annie and
Annabel Freud, and the marriage
ended in 1952.Kitty Freud, later
known as Kitty Godley (after her
marriage in 1955 to economist
Wynne Godley), died in 2011.
Freud then began to see Guinness
heiress and writer Lady Caroline
Blackwood. They married in 1953
but divorced in 1959

Guity Novin
(born Guity Navran, 1944) is an
Iranian-Canadian figurative painter,
and graphic designer residing in
Canada.She classifies her work as
Transpressionism, a movement she
has introduced. Her works are in
private and public collections
worldwide.
She has served on a UNESCO
national committee of artists
Early period 1970–1976
After graduating from the
Faculty of Fine Arts with a BA in
graphic design, Guity Novin was
employed as a graphic designer in
the Department of Graphic Arts at
the Ministry of Culture and Arts
(MCA) in Tehran, in 1970.
However, as the first female
graphic designer she immediately
was confronted with various
barriers and adversarial
relationships. All the important
posters were designed by the head
of the department, who had at his
disposal the services of many
calligraphers, drawers, and other
designers. Guity responded by
creating her own innovative posters
outside the MCA and for the
private sector. The young film
makers of the Free Cinema of Iran,
under the management of Basir
Nasibi, commissioned her to design
the cover of their first two books,
as well as some of their posters.
Pretty soon her posters and line
drawings was reproduced on the
cover of cultural magazines, such as
Negin. She also began to design the
cover of magazines like Zaman, and
various literally periodicals such as
Chaapar, and Daricheh.Fortunately
for Guity, the late Hajir Darioush, a
young new wave director of
cinema, was assigned as the
president of First International Film
Festival of Tehran which was
headquartered at the MCA.
Noticing Guity's talent, Darioush
invited her to join his team, and
Guity produced the catalogs and
posters of the festival.
15

European period, 1975–1980
In 1975 Novin moved to
The Hague, the Netherlands,
studied at Vrije Academie voor
Beeldende Kunsten, and exhibited
in 1975 at Noordeinde Gallery.
She named ths exhibition
Melodious Spheres. She moved to
Manchester, England, in 1976,
exhibited her "In Essence" show at
Didsbury Library and was selected
in 1979 for the E.C.A Exhibition at
National Theatre, London.
She also participated in several
group exhibitions.
Early Canadian period, Kingston,
Ottawa, and Montreal, 1980-84
Guity Novin in her Studio at
Kingston Ontario, 1981
In 1980 Guity settled in Kingston,
Ontario. Her first exhibition in 1981
at the Brock Street Gallery in
Kingston was called Lost Serenade.
The Whig-Standard magazine,
published her work "Flute Player"
on the cover its October 3, 1981
issue,
Ottawa period 1984–1997
Guity spent 1983 in Montreal, and
then in 1984 she and her family
relocated to Ottawa, where she
worked and exhibited until 1997.
With a couple of her artist friends,
including Raku potters Huc Wee
and Adrianne Lamoreaux, Novin
established the Artex Gallery at the
Byward market in Ottawa where
she painted and exhibited her
works. At the same time, she
started to produce graphic art
drawings for the Breaking the
Silence, a feminist periodical. Her
illustrations were published in Le
Carnaval de la licorne (2001),and
her work Pears in Blue was
published in Abnormal
Psychology.[18] Chapters bookstore
exhibited her works in their main
bookstore in Ottawa in 1995, and
she participated in the National
Capital Fine Art Festival at
Aberdeen Pavilion, Landsdown park
in March 1996.

Ardabil
Sheikh Safi-od-Din Mausoleum

Ardabil
Is an ancient city in Iranian
Azerbaijan. Ardabil is the center
of Ardabil Province. At the 2011
census, its population was
564,365, in 156,324 families,
where the dominant majority are
ethnic Iranian Azerbaijanis.
Ardabil is known for its silk and
carpet trade tradition. Ardabil rugs
are renowned and the ancient
Ardabil Carpets are considered
some of the best of the classical
Persian carpet creations. Ardabil is
also known as the seat of a World
Heritage Site: the Ardabil Shrine,
the sanctuary and tomb of Shaikh
Safî ad-Dîn, eponymous founder of
the Safavid dynasty.
History
Shah Ismail
The province is believed to be as
old as the Achaemenid era (ca.
550–330 BCE). It is mentioned in
the Avesta, where prophet
Zoroaster was born by the river
Aras and wrote his book in the
Sabalan Mountains. During the
Parthian era, the city had a special
importance among the cities of
Azarbaijan. Some Muslim historians
attribute the foundation of Ardabil
to king Peroz I of the Sassanid
Empire. The Persian poet Ferdowsi
also credits the foundation of the
city to Peroz I. Ardabil suffered
some damages caused by
occasional raids of Huns from the
4th to 6th century CE. Peroz
repaired those damages and
fortified the city. Peroz made
Ardabil the residence of provincial
governor of Azarbaijan.
Due to its proximity to the
Caucasus, Ardabil was always
vulnerable to invasions and attacks
by the mountain peoples of the
Caucasus as well as by the steppe
dwellers of South Russia past the
mountains In 730-731, the Khazars
managed to get past the Alan
Gates, defeated and killed the Arab
governor of Armenia named Al-
Jarrah ibn Abdallah on the plain
outside the town of Ardabil, and
subsequently captured the town, as
they continued their conquests.
During the Islamic conquest of Iran,
Ardabil was the largest city in north
western Iran, ahead of Derbent,
19

and remained so until the Mongol
invasion period. Ardabilis fought
the Mongols three times; however
the city fell after the third attempt
by Mongols, who massacred the
Ardabilis. Incursions of Mongols
and subsequently the Georgians,
who, under Tamar the Great,
captured and sacked the city with
some 12,000 citizens reputedly
killed, devastated the city. The city
however recovered and was in a
more blossoming state than
before, though by this time the
principal city in the Azerbaijan
region had become Tabriz, and
under the later Ilkhanate, it had
become Soltaniyeh.
Safavid king Ismail I, born in
Ardabil, started his campaign to
nationalize Iran's government and
land from there, but consequently
announced Tabriz as his capital in
1501. Yet Ardabil remained an
important city both politically and
economically until modern times.
During the frequent Ottoman-
Persian Wars, being close to the
borders, it was often sacked by the
Ottomans between 1514 and 1722
as well as in 1915 during World
War
I when the former invaded
neighboring Iran.
In the early Qajar period, crown
prince Abbas Mirza, son of then
incumbent king
Fath Ali Shah Qajar (r. 1797–1834)
was the governor of Ardabil. With
Ardabil already once being sacked
by the Russians during the Russo-
Persian War of 1804-1813, and this
being the era of the Russians
steadily advancing into the Iranian
possessions in the Caucasus, Abbas
Mirza ordered the Napoleonic
general Gardane, who served the
Qajars at the time, to strengthen
and fortify the town with ramparts.
During the next and final war, the
Russo-Persian War of 1826-28, the
ramparts were stormed by the
Russian troops, who then
temporarily occupied the town.The
town's extensive and noted library,
known as the library of Safi-ad-din
Ardabili, was taken to St.
Petersburg by General Ivan
Paskevich on the feigned promise
that it would be brought to the
Russian capital in order to be kept
safe until it could be returned; it
was never returned.

After the Russo-Persian Wars,
Ardabil re-prospered. With the
town being only 40 kilometers
situated from the new Russo-
Iranian border imposed on Iran by
the Treaty of Turkmenchay (1828)
and the loss of its territories in the
Caucasus, Ardabīl became a moreso
important stop on a caravan route
which was a major link for the
importation of European goods
from Russia into Iran.In
1872, when Max von Thielmann
was in Ardabil, he noted in his
published book of 1875 the
extensive activity at the town's
bazaar as well, as the presence of
many foreigners in the town. He
estimated its population at 20,000
During the early Iranian
Constitutional Revolution, Ardabil
as well as the rest of Iranian
Azerbaijan were occupied by the
Russians who stayed until the
eventual collapse of the Russian
Empire in 1917.
Bazaars
Main article: Ardabil Bazaar
In the heart of the Ardabil city, this
bazaar stands as old as the Islamic
period. Its shape was described by
the historians of the 4th century CE
as a cross, extending in four
directions with simply designed
domes. Most sections of the bazaar
were constructed and renovated
during the Safavid and Zand
periods.
Produce Bazar, Ardabil and vicinity
This is the fresh produce bazaar on
the Meshkin Shahr gate in the city
of Ardabil. Vendors buy directly
from farmers and distributors.
Shrine and the Ardabil carpets
One of the main sights in the city of
Ardabil in north-west Iran is the
shrine of Shaykh Safi al-Din
Ardabili, who died in 1334. The
Shaykh was a Sufi leader, who
trained his followers in Islamic
mystic practices. After his death, his
followers remained loyal to his
family, who became increasingly
powerful.
In 1501, one of his descendants,
Shah Isma'il, seized political power.
He united Iran for the first time in
several centuries and established
the Shi'i form of Islam as the state
religion.

Isma'il was the founder of the
Safavid dynasty, named after Shaykh Safi al-Din.
The Safavids, who ruled without a break until 1722, and then
intermittently until 1757, promoted the shrine of the Shaykh as a place
of pilgrimage

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