AZIZ ART

April 2016

Jamal Bakhshpour

EdvardMunch

illuminated manuscript

Bandar anzali

Iran

Competition

Paul Bamborough

Director: Aziz Anzabi

Editor and translator :

Asra Yaghoubi

Research: Zohreh Nazari

http://www.aziz-anzabi.com

1.Jamal Bakhshpour3. Edvard Munch9. Competition11. Illuminated 16. Paul Bamborough18. Bandar-e Anzali21. CompetitionAhmad Shamlou poem

They smell your breath, lest you had uttered ‘I love you’.They smell your heart!Strange times are these my dear.

They flog love at a roadblock corner.Love is better off hidden in a closet at home.

In this crooked dead-end of twisting chillthey kindle their fire with our song and poetry.

Do not risk thinking.Strange times are these my dear.

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Jamal Bakhshpour15.09.1944 in Tabriz, Iran;21.06.2015 in Cologne, Germany was a contemporary Iranian painter. He graduated from Fine Arts Vocational School, Faculty Of Decorative Arts in Tehran in 1967. He was a student of MohsenVaziri-Moghaddam He lived and worked in Germany since 1984.

„Jamal Bakhshpour is one of the old and reputable, contemporary iranian artists. He has lived and worked in Germany for the greater part of the past three decades. When he began to paint in the sixties, it was a pleasure to watch the technical skills and masterly

proficiency with which he spread the continuous hachure throughout his work and it was evident that he is a painter with a rich imagination...“

„...As far as I am aware, during the last few decades, we haven‘t had any iranian artist with Jamal Bakhshpour‘s imagination, mastership, technical skills and proficiency in the use of iron brush and brilliant colours. I hold great affection for Bakhshpour and his works and believe that his mastership and imagination are praiseworthy...“ Aydin Aghdashloo, Tehran January 2001

Edvard Munch12 December 1863 – 23 January 1944 was a Norwegian painter and printmaker whose intensely evocative treatment of psychological themes built upon some of the main tenets of late 19th-century Symbolism and greatly influenced German Expressionism in the early 20th century. One of his most well-known works is The Scream of 1893.ChildhoodEdvard Munch was born in a farmhouse in the village of Ådalsbruk in Løten, Norway, to Laura Catherine Bjølstad and Christian Munch, the son of a priest. Christian was a doctor and medical officer who married Laura, a woman half his age, in 1861. Edvard had an elder sister, JohanneSophie, and three younger siblings: Peter Andreas, Laura Catherine, and Inger Marie. Both Sophie and Edvard appear to have inherited their artistic talent from their mother. Edvard Munch was related to painter Jacob Munch and historian Peter Andreas Munch.The family moved to Christiania (now Oslo) in 1864 when Christian

Munch was appointed medical officer at Akershus Fortress. Edvard's mother died of tuberculosis in 1868, as did Munch's favorite sister JohanneSophie in 1877.After their mother's death, the Munch siblings were raised by their father and by their aunt Karen. Often ill for much of the winters and kept out of school, Edvard would draw to keep himself occupied. He was tutored by his school mates and his aunt. Christian Munch also instructed his son in history and literature, and entertained the children with vivid ghost-stories and the tales of American writer Edgar Allan Poe.As Edvard remembered it, Christian's positive behavior toward his children was overshadowed by his morbid pietism. Munch wrote, "My father was temperamentally nervous and obsessively religious—to the point of psychoneurosis. From him I inherited the seeds of madness. The angels of fear, sorrow, and death stood by my side since the day I was born." Christian reprimanded his children by telling them that their mother was looking down from heaven and grieving over their misbehavior. 3

The oppressive religious milieu, plus Edvard's poor health and the vivid ghost stories, helped inspire his macabre visions and nightmares; the boy felt that death was constantly advancing on him.One of Munch's younger sisters was diagnosed with mental illness at an early age. Of the five siblings, only Andreas married, but he died a few months after the wedding. Munch would later write, "I inherited two of mankind's most frightful enemies—the heritage of consumption and insanity."

Christian Munch's military pay was very low, and his attempts to develop a private side practice failed, keeping his family in genteel but perennial poverty. They moved frequently from one cheap flat to another. Munch's early drawings and watercolors depicted these interiors, and the individual objects, such as medicine bottles and drawing implements, plus some landscapes. By his teens, art dominated Munch's interests. At thirteen, Munch had his first exposure to other artists at the newly formed Art Association, where he admired the work of the

Norwegian landscape school. He returned to copy the paintings, and soon he began to paint in oils.

The ScreamThe Scream (1893)The Scream exists in four versions: two pastels (1893 and 1895) and two paintings (1893 and 1910). There are also several lithographs of The Scream (1895 and later).The 1895 pastel sold at auction on 2 May 2012 for US$119,922,500, including commission. It is the most colorful of the versions and is distinctive for the downward-looking stance of one of its background figures. It is also the only version not held by a Norwegian museum.

The 1893 version was stolen from the National Gallery in Oslo in 1994 and recovered. The 1910 painting was stolen in 2004 from The Munch Museum in Oslo, but recovered in 2006 with limited damage.

The Scream is Munch's most famous work, and one of the most recognizable paintings in all art. It has been widely interpreted as representing the universal anxiety of modern man. Painted withbroad bands of garish color and highly simplified forms, and employing a high viewpoint, it reduces the agonized figure to a garbed skull in the throes of an emotional crisis.With this painting, Munch met his stated goal of "the study of the soul, that is to say the study of my own self". Munch wrote of how the painting came to be: "I was walking down the road with two friends when the sun set; suddenly,the sky turned as red as blood. I stopped and leaned against the fence, feeling unspeakably tired. Tongues of fire and blood stretched over the bluish black fjord. My

friends went on walking, while I lagged behind, shivering with fear. Then I heard the enormous, infinite scream of nature." He later described the personal anguish behind the painting, "for several years I was almost mad… You know my picture, 'The Scream?' I was stretched to the limit—nature was screaming in my blood… After that I gave up hope ever of being able to love again."

In summing up the painting's effects, author Martha Tedeschi has stated: "Whistler's Mother, Wood's American Gothic, Leonardo daVinci's Mona Lisa and EdvardMunch's The Scream have all achieved something that most paintings—regardless of their art historical importance, beauty, or monetary value—have not: they communicate a specific meaning almost immediately to almost every viewer. These few works have successfully made the transition from the elite realm of the museum visitor to the enormous venue of popular culture."

Later yearsMunch spent most of his last two decades in solitude at his nearly self-sufficient estate in Ekely, at Skøyen, Oslo. Many of his late paintings celebrate farm life, including several in which he used his work horse "Rousseau" as a model.Without any effort, Munch attracted a steady stream of female models, whom he painted as the subjects of numerous nude paintings. He likely had sexual relations with some of them.Munchoccasionally left his home to paint murals on commission, including those done for the Freia chocolate factory.To the end of his life, Munch continued to paint unsparing self-portraits, adding to his self-searching cycle of his life and his unflinching series of takes on his emotional and physical states. In the 1930s and 1940s, the Nazis labeled Munch's work "degenerate art" (along with that of Picasso, Paul Klee, Matisse, Gauguin and many other modern artists) and removed his 82 works from German museums.Adolf Hitler announced in 1937, "For all we care, those prehistoric Stone Age culture

barbarians and art-stutterers can return to the caves of their ancestors and there can apply their primitive international scratching."In 1940, the Germans invaded Norway and the Nazi party took over the government. Munch was 76 years old. With nearly an entire collection of his art in the second floor of his house, Munch lived in fear of a Nazi confiscation. Seventy-one of the paintings previously taken by the Nazis had been returned to Norway through purchase by collectors (the other eleven were never recovered), including The Scream and The Sick Child, and they too were hidden from the Nazis.Munch's grave at Vår Frelsersgravlund, OsloMunch died in his house at Ekelynear Oslo on 23 January 1944, about a month after his 80th birthday. His Nazi-orchestrated funeral suggested to Norwegians that he was a Nazi sympathizer, a kind of appropriation of the independent artist. The city of Oslo bought the Ekely estate from Munch's heirs in 1946; his house was demolished in May 1960.

ENDANGERED Art and Photography ContestNovember 28, 2016 to December 6, 2016

Miami, Florida

Art, in all its forms, can reach people all over the globe and win hearts and minds. This contest and subsequent exhibition aims to encourage artists and photographers to focus their skill and creativity on the issues facing endangered species and habitats whilst raising funds to support the Center for Great Apes, a sanctuary for orangutans and chimpanzees in need of lifetime care.

ContestYou are invited to enter the 4th annual ENDANGERED Art & Photography Contest. This global, juried, online art contest aims to focus attention on the plight of endangered and threatened species or habitats. The challenge is to interpret or reflect ENDANGERED through either:Celebration of the beauty of endangered or threatened species/habitatsIllustration of the threats facing endangered species/habitats

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An illuminated manuscript

Is a manuscript in which the text is

supplemented with such decoration as initials, borders (marginalia) and miniature illustrations. In the strictest definition, the term refers only to manuscripts decorated with gold or silver; but in both common usage and modern scholarship, the term refers to any decorated or illustrated manuscript from Western traditions. Comparable Far Eastern and Mesoamerican works are described as painted. Islamic manuscripts may be referred to as illuminated, illustrated or painted, though using essentially the same techniques as Western works. This article covers the technical, social and economic history of the subject; for an art-historical account, see miniature.

The earliest surviving substantive illuminated manuscripts are from the period 400 to 600, produced in Italy and the Eastern Roman Empire. The significance of these works lies not only in their inherent artistic and historical value, but also in the maintenance of a link of

literacy offered by non-illuminated texts. Had it not been for the monastic scribes of Late Antiquity, most literature of Greece and Rome would have perished in Europe. As it was, the patterns of textual survivals were shaped by their usefulness to the severely constricted literate group of Christians. Illumination of manuscripts, as a way of aggrandizing ancient documents, aided their preservation and informative value in an era when new ruling classes were no longer literate, at least in the language used in the manuscripts.

The majority of surviving manuscripts are from the Middle Ages, although many survive from the Renaissance, along with a very limited number from Late Antiquity.

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The majority of these manuscripts are of a religious nature. However, especially from the 13th century onward, an increasing number of secular texts were illuminated. Most illuminated manuscripts were created as codices, which has superseded scrolls. A very few illuminated manuscript fragments survive on papyrus, which does not last nearly as long as vellum or parchment. Most medieval manuscripts, illuminated or not, were written on parchment (most commonly of calf, sheep, or goat skin), but most manuscripts important enough to illuminate were written on the best quality of parchment, called vellum.Beginning in the late Middle Ages manuscripts began to be produced on paper.Very early printed books were sometimes produced with spaces left for rubrics and miniatures, or were given illuminated initials, or decorations in the margin, but the introduction of printing rapidly led to the decline of illumination. Illuminated manuscripts continued to be produced in the early 16th century, but in much smaller numbers, mostly for the very wealthy.

Manuscripts are among the most common items to survive from the Middle Ages; many thousands survive. They are also the best surviving specimens of medieval painting, and the best preserved. Indeed, for many areas and time periods, they are the only surviving examples of painting.

HistoryMain article: History of miniature (illuminated manuscript)Art historians classify illuminated manuscripts into their historic periods and types, including (but not limited to) Late Antique, Insular, Carolingian manuscripts, Ottonian manuscripts, Romanesque manuscripts, Gothic manuscripts, and Renaissance manuscripts.

There are a few examples from later periods. The type of book that was most often heavily and richly illuminated, sometimes known as a "display book", varied between periods. In the first millennium, these were most likely to be Gospel Books, such as the LindisfarneGospels and the Book of Kells. The Romanesque period saw the creation of many huge illuminated complete Bibles – one in Sweden requires three librarians to lift it. Many Psalters were also heavily illuminated in both this and the Gothic period. Single cards or posters of vellum, leather or paper were in wider circulation with short stories or legends on them about the lives of saints, chivalry knights or other mythological figures, even criminal, social or miraculous occurrences; popular events much freely used by story tellers and itinerant actors to support their plays. Finally, the Book of Hours, very commonly the personal devotional book of a wealthy layperson, was often richly illuminated in the Gothic period. Other books, both liturgical and not, continued to be illuminated at all periods. The Byzantine world

also continued to produce manuscripts in its own style, versions of which spread to other Orthodox and Eastern Christian areas. See Medieval art for other regions, periods and types. Reusing parchments by scraping the surface and reusing them was a common practice; the traces often left behind of the original text are known as palimpsests.The Muslim World and in particular the Iberian Peninsula, with their traditions of literacy uninterrupted by the Middle Ages, were instrumental in delivering ancient classic works to the growing intellectual circles and universities of Western Europe all through the 12th century, as books were produced there in large numbers and on paper for the first time in Europe, and with them full treatises on the sciences, especially astrology and medicine where illumination was required to have profuse and accurate representations with the text.The Gothic period, which generally saw an increase in the production of these beautiful artifacts, also saw more secular works such as

chronicles and works of literature illuminated. Wealthy people began to build up personal libraries; Philip the Bold probably had the largest personal library of his time in the mid-15th century, is estimated to have had about 600 illuminated manuscripts, whilst a number of his friends and relations had several dozen.Up to the 12th century, most manuscripts were produced in monasteries in order to add to the library or after receiving a commission from a wealthypatron. Larger monasteries often contained separate areas for the monks who specialized in the production of manuscripts called a scriptorium. Within the walls of a scriptorium were individualized areas where a monk could sit and work on a manuscript without being disturbed by his fellow brethren. If no scriptorium was available, then “separate little rooms were assigned to book copying; they were situated in such a way that each scribe had to himself a window open to the cloister walk.”The separation of these monks from the rest of the cloister indicates just how revered

these monks were within their society.By the 14th century, the cloisters of monks writing in the scriptorium had almost fully given way to commercial urban scriptoria, especially in Paris, Rome and the Netherlands.While the process of creating an illuminated manuscript did not change, the move from monasteries to commercial settings was a radical step. Demand for manuscripts grew to an extent that the Monastic libraries were unable to meet with the demand, and began employing secular scribes and illuminators. These individuals often lived close to the monastery and, in certain instances, dressed as monks whenever they entered the monastery, but were allowed to leave at the end of the day. In reality, illuminators were often well known and acclaimed and many of their identities have survived.First, the manuscript was “sent to the rubricator, who added (in red or other colors) the titles, headlines, the initials of chapters and sections, the notes and so on; and then – if the book was to be illustrated – it was sent to the illuminator.”

In the case of manuscripts that were sold commercially, the writing would “undoubtedly have been discussed initially between the patron and the scribe (or the scribe’s agent,) but by the time that the written gathering were sent off to the illuminator there was no longer any scope for innovation.”

TechniquesIllumination was a complex and frequently costly process. It was usually reserved for special books: an altar Bible, for example. Wealthy people often had richly illuminated "books of hours“made, which set down prayers appropriate for various times in the

liturgical day.In the early Middle Ages, most books were produced in monasteries, whether for their own use, for presentation, or for a commission. However, commercial scriptoria grew up in large cities, especially Paris, and in Italy and the Netherlands, and by the late 14th century there was a significant industry producing manuscripts, including agents who would take long-distance commissions, with details of the heraldry of the buyer and the saints of personal interest to him (for the calendar of a Book of hours). By the end of the period, many of the painters were women, perhaps especially in Paris.

Paul BamboroughBorn in Birmingham in 51, BAM gained his arts degree at Wolverhampton, he worked as a writer for TV Radio, Film & Theatre with some success, before returning to his main passion-painting! Over the last 25 years BAM has held exhibitions at various galleries & venues in London & Birmingham. His work has fell into a variety of themes, each in a series of 10-15 separate canvases, the wryly separate humorous series of pop art paintings proving particularly popular. The latest series 'Squares', are a series of images (all acrylic on canvas) moving through dimensional shapes & forms, visually held together by the sheer weight of colours within the confines of the squares. A series of illustrated joke books are available from Amazon by BAM, titled BAMBOOZLES 1, 2, & 3. & 4. Ginsberg (India revisited) 2000 One Liners as Jammy Carr & ZNOOT COMIX 1. more to come

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Bandar-e Anzali

Bandar-e Anzali ( Romanized as Bandar-e Anzalī; before the Iranian Revolution, was renamed from Bandar-e Anzali to Bandar-e Pahlavi by Reza Pahlavi)is a city in Gilan Province, Iran. At the 2006 census, its population was 109,687, in 32,424 families.Bandar-e Anzali (Anzali Port) is a harbour town ("Bandar" means "port") on the Caspian Sea, close to Rasht. Bandar-e Anzali is one of the most importantseaports in the north of Iran. It consists of an island called Mianposhteh and the surrounding lands. Tourist attractions include a clock tower called Manareh, the long harbour promenade, and the water-logged delta of and beach along the Sefid River. Bandar-e Anzali is the port where the Polish Anders Army disembarked, in an operation that lasted from April 1 until October, 1942, after evacuating from the USSR. The Polish Cemetery in the city was created the same year.HistoryAnzali is an old city in ancient Iran, they are related to Kadusin, owing to their pleasant relationship with Cyprus and their cooperation in

battles, they changed their name to Anzan (Anshan-e Pars), which Greeks called Anzaluy. This word In Pahlavi language means Anzalagand the Arabic form of it is Anzalaj. Anzali Gulf was a safe harbour for trade ships and fishing boats. It was renamed to Pahlavi in 1935.In 1919, with the collapse of General Anton Denikin's White Russian army, eighteen of his ships sought refuge in Anzali. On 18 May 1920, a Soviet flotilla of thirteen ships launched a surprise attack on Anzali, capturing the British garrison and the eighteen White Russian ships. This allowed for the establishment of the short-lived Persian Socialist Republic and the Persian Communist Party. Soviet authorities denied responsibility for the attack, blaming the local Russian naval commander for attacking under his own authority.Its wonderful lagoon, Customs and City Hall edifice (Shahrdari), MianPoshte Palace and MotamediEdifice, are its tourist attractions. Until 1980, when it was moved to Noshahr, Anzali was the site of the Caspian University of Naval Science.

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The structure Of Naser-al-din Shah Place which was built by Moayer-ol-mamalekk and its famous SangiBath was destroyed by people and natural factors.A wonder of Sangi Bath was the system of heating and durability water in its basins. Some groups think that Motamedi edifice had been changed; it is now its police office. This Ghajar Structure builtin two floors with the help of Mirza Abd-ol-Vahab.GeographyTovoos Tower, the tallest tower in Bandar-e AnzaliThe Anzali Lagoon divides the Anzali Port in two parts. The town is connected by two bridges to the Beheshti Island. There is a caviar processing factory in Bandar-e Anzali, some old ruins from 19th century and the popular ShanbehBazaar. Tourbebar is a village about 40 kilometers fromBandar-e Anzali, near the AnzaliLagoon.ClimateBandar-e Anzali has the most humid climate of any city in Iran, having a climate somewhat similar in its heavy autumn and early winter rainfall and persistent high

humidity and low sunshine to the Sea of Japan coast of Japan, though it receives much less summer rainfall than that region. It remains classified as a humid subtropical climate .The warm and humid weather has allowed this region to grow crops such as rice and tea that require very large amounts of moisture, especially with the extra water draining from the Elburz Mountains.CaviarBandar-e Anzali is a center of caviar production. The preparation and marketing of which is a state monopoly, handled through The Iranian Fishing Company under the control of the Finance Ministry. The public is not admitted to the immense refrigerated hangars where tons of sturgeons, some as large as 3 meters long and weighing 100 kilograms, are stored after the removal of the caviar, usually equivalent to about one tenth of their weight.People and cultureThe people of Anzali speak Gileki as the maternal language and Persian as the national language.

2016 Peters Valley Fine Craft Fair

September 24, 2016 to September 25, 2016Sussex County Fairgrounds, Augusta, NJ

Application Deadline April 20, 2016

Application Fee: $40

Peters Valley School of Craft is a nationally recognized non profit arts organization. This is Peters Valley's largest fundraiser of the year! The event is held rain or shine and hosts 150 fine craft exhibitors. This is the show's 46th year in existence.

Jurors: Judith NeugebauerTom NeugebauerMargie Cohen

Cash and cash equivalent prizes awarded for: Gold, Silver, Bronze, Honorable Mention

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Anzali lagoon

http://www.aziz-anzabi.com