Ali Akbar Sanati

Aziz ArtJan 2016

Tamara de Lempicka

Shiraz

Iran

Michael McEvoy

Competition

poem

A little and a little, collected together, becomes a great deal; the heap in the barn consists of single grains, and drop and drop make the inundation.Saadi

http://www.aziz-anzabi.com

Director:

Aziz Anzabi

Editor and translator :

Asra Yaghoubi

Research:

Zohreh Nazari

2.Ali Akbar Sanati5. Competition7. Tamara de Lempicka16.Shiras22. Michael McEvoy

Shah Abbas sculpture by Ali Akbar Sanati

Ali Akbar SanatiMaster Sanatizadeh was born in 1916 in Kerman. He was only six month old when his father passed away ,since his mother wasn't able to take care of him late Haj Ali Akbar Sanati thefounder of" Sanati" orphanage took care of him. Seyed Ali Akbar found his talent of painting when he was eight years old .After he finished his primary education Haj Ali Akbar sent him to Tehran so that he could go to Kamalolmolk school which had the best masters in art such as: Abol Hossein Khan Sedighi, Hossein Khan Sheikhi and ALiRokhsaz.He got his Bachelor of Art in 1940 in the feild of Art then he returned to Kerman to pay his debt to the orphanage he was raised in there for he selected 40 orphans to teach . In 1945 he went to Tehran and with the help of Abdol Hossein Sanati he opened a museum in

Toopkhooneh square and donated it to Shir khorshid. In 1946 he opened the first anthropology museum which was welcomed by a lot of people .In 1951 he opened an other museum in college street which had all his artwork but some of them were transferedto Kermsn in 1977. In 1978 some people broke into the museum and perished some of his artwork and stoled the rest ,the only things left from the museum were some pictures of his house. By the age of 80 he created the number of 6000 paintings of oil color,water color and hundreds of statues of stone,marbel and bronze

2

What we can say about him is that he understood poeple of his time very well and tried to show the life of poor in his artwork . In 1973 Abol Hossein Sanatizadeh passed away after four years with the help of Haj Ali Akbar's grand son Homayoon Sanatizadeh he built a new building by the name of "Sanati Museum " in the center of the orphanage which had some of hispaintings , statutes and some of other artists such as Kamamolmolk. What is understood from his artwork is his relationship with the poeple of his time .He always remembered the life of the orphans of the orphanage and tried to show it in his artwork so we can call his work mystic. The subject of his work was about poele of society or the ones who tried to help others .The subject that he cared about alot and maybe was about his past was the feeling and love of a mother who held her child in her arms which was painted in 1982.

Statues: Most of his statues were about anthropology which tried to show the history. Some subjects were

about poor people or prisoners likeThe tablet of a prisoner in prison which was made in 1950. The rest of his subjects were about other Iranian and foreign artists such as : Malekoshoaraye Bahar, Dehkhoda,AmirKabir,Ferdosi,Gandi, ... .

Art work made with mosaic and stone: The artwork made from tile and marbel were put flat next to each other .Most of them were stones with different veins and textures and were put togetheter in a nice way.His tablets were made of natural stones .The tablet of the retsing place of Shah Nemat allahvali in Mahan which was made in 1976 or the tablet of the "shepherd and his fold " which was made in 1942 from colored stones or the tablet of the "blacksmith" which was made in 1946 from mosaic and stone are good examples of his work.

Jailers by Ali Akbar Sanati

The CDS Documentary Essay Prize honors the best in documentary photography and writing in alternating years: one year, photos; one year, writing. The focus is on current or recently completed work (within the last two years) from a long-term project.

The upcoming prize competition will be for photography. The winner of the competition will receive $3,000 and will have his or her work featured in Document, a periodical published by the Center for Documentary Studies, as well as on the Center's website. The winner's work will also be placed in the Archive of Documentary Arts at the Rubenstein Library, Duke University.

The 2014 prize, for photography, was given to Iveta Vaivode for "Somewhere on a Disappearing Path," in which she explores the rural landscape and, perhaps, the last inhabitants, of Pilcene, Latvia, to create a new family album, one full of images of memories she's imagined.

Submissions for the CDS Documentary Essay Prize in Photography will be accepted from November 2, 2015, to February 16, 2016. See How to Enter and FAQ's. The winner will be publicly announced in June 2016.

More Information: http://documentarystudies.duke.edu/awards5

Tamara de Lempicka16 May 1898 – 18 March 1980was a Polish Art Deco painter and "the first woman artist to be a glamour star". Influenced by Cubism, Lempicka became the leading representative of the Art Deco style across two continents, a favorite artist of many Hollywood stars, referred to as 'the baroness with a brush'. She was the most fashionable portrait painter of her generation among the haute bourgeoisie and aristocracy, painting duchesses and grand dukes and socialites. Through her network of friends, she was also able to display her paintings in the most elite salons of the era. Lempicka was criticized as well as admired for her'perverse Ingram', referring to her modern restatement of the master Jean Auguste Dominique Ingres, as displayed in her work Group of Four Nudes (1925) among other studies.LifeShe was born Maria Górska in Warsaw,Congress Poland underthe rulership of the Russian Empire, into a wealthy and prominent family. Lempicka was

the daughter of Boris Gurwik-Górski, a Russian Jewish attorney for a French trading company,andMalwina Dekler, a Polish socialite who met him at one of the European spas. Maria had two siblings and was the middle child. She attended a boarding school in Lausanne, Switzerland, and spent the winter of 1911 with her grandmother in Italy and on the French Riviera, where she was treated to her first taste of the Great Masters of Italian painting. In 1912, her parents divorced, and Maria went to live with her rich Aunt Stefa in St. Petersburg, Russia. When her mother remarried, she became determined to break away to make a life of her own. In 1913, at the age of fifteen, while attending the opera, Maria spotted the man she became determined to marry. She promoted her campaign through her well-connected uncle, and in 1916 she married TadeuszŁempicki (1888–1951) in St. Petersburg—a well-known ladies' man, gadabout, and lawyer by title, who was tempted by the significant dowry.

7

In 1917, during the Russian Revolution, Tadeusz Łempicki was arrested in the dead of night bythe Bolsheviks. Maria searched the prisons for him and after several weeks, with the help of the Swedish consul, she secured his release. They traveled to Copenhagen then to London and finally to Paris, to where Maria's family had also escaped.Paris and paintingIn Paris, the Lempickis lived for a while from the sale of family jewels. Tadeusz proved unwilling or unable to find suitable work, which added tothe domestic strain, while Maria gave birth to Kizette Lempicka. Her sister, the designer Adrienne Gorska, made furniture for her Paris apartment and studio in the Art Deco style, complete with chrome-plated furniture.The flat at 7 Rue Mechain was built by the architect Robert Mallet-Stevens known for his clean lines."The Musician" (1929), oil on canvas by Tamara de LempickaLempicka's distinctive and bold artistic style developed quickly, influenced by what André Lhotesometimes referred to as "soft

cubism" and by the "synthetic cubism" of Maurice Denis, epitomizing the cool yet sensual side of the Art Deco movement. For her, Picasso "embodied the novelty of destruction".She thought that many of the Impressionists drew badly and employed "dirty" colors. Lempicka's technique would be novel, clean, precise, and elegant.For her first major show, in Milan, Italy in 1925, under the sponsorship of Count Emmanuele Castelbarco, Lempicka painted 28 new works in six months. A portrait would take three weeks of work, allowing for the nuisance of dealing with a difficult sitter; by 1927, Lempickacould charge 50,000 French francs for a portrait, a sum equal to about US$2,000 then and more than ten times as much today. Through Castelbarco, she was introduced to Italy's great man of letters and notorious lover, Gabriele d'Annunzio. She visited the poet twice at his villa on Lake Garda, seeking to paint his portrait; he in turn was set on seduction.

. After her unsuccessful attempts to secure the commission,she went away angry, while d'Annunzio also remained unsatisfied.In 1925, Lempicka painted her iconic work Auto-Portrait (Tamara in the Green Bugatti) for the cover of the German fashion magazine Die Dame. As summed up by the magazine Auto-Journal in 1974, "the self-portrait of Tamara de Lempicka is a real image of the independent woman who asserts herself. Her hands are gloved, she is helmeted,and inaccessible; a cold and disturbing beauty pierces a formidable being—this woman is free!" In 1927 Lempicka won her first major award, the first prize at the Exposition Internationale des Beaux Arts in Bordeaux, France, for her portrait of Kizette on the BalconyThe Roaring TwentiesIn Paris during the Roaring Twenties, Tamara de Lempickabecame part of the bohemian life: she knew Pablo Picasso, Jean Cocteau, and André Gide. Famous for her libido, she was bisexual. Her affairs with both men and women

were conducted in ways that were considered scandalous at the time. She often used formal and narrative elements in her portraits, and her nude studies produced overpowering effects of desire and seduction.In the 1920s she became closely associated with lesbian and bisexual women in writing and artistic circles, such as Violet Trefusis, Vita Sackville-West, and Colette. She also became involved with Suzy Solidor, a night club singer at the Boîte de Nuit, whose portrait she later painted.Herhusband eventually tired of their arrangement and abandoned her in 1927. They were divorced in 1931 in Paris.

Lempicka rarely saw her daughter. When Kizette was not away at boarding school (France or England), the girl was often with her grandmother Malvina. When Lempicka informed her mother and daughter that she would not be returning from America for Christmas in 1929, Malvina was so angry that she burned Lempicka'senormous collection of designer hats; Kizette watched them burn, one by one.

Kizette rarely saw her mother, but was immortalized in her paintings. Lempicka painted her only child repeatedly, leaving a striking portrait series: Kizette in Pink, 1926; Kizette on the Balcony, 1927; Kizette Sleeping, 1934; Portrait of Baroness Kizette, 1954–5, etc. In other paintings, the women depicted tend to resemble Kizette.

In 1928, her longtime patron the Baron Raoul Kuffner von Diószeg(1886–1961) visited her studioand commissioned her to painthis mistress. Lempicka finished the portrait, then tookthe mistress' place in the Baron's life. She travelled to the United States for the first time in 1929, to paint a commissioned portrait for Rufus T. Bush and to arrange a show of her work at the Carnegie Institute in Pittsburgh. The show went wellbut the money she earned was lost when the bank she used collapsed following the Stock Market Crash of 1929.

Lempicka continued both her heavy workload and her frenetic social life through the next decade. The Great

Depression had little effect on her; in the early 1930s she was painting King Alfonso XIII of Spain and Queen Elizabeth of Greece. Museums began to collect her works. In 1933 she traveled to Chicago where she worked with Georgia O'Keeffe, Santiago Martínez Delgado and Willem de Kooning. Her social position was cemented when she married her lover, Baron Kuffner, on 3 February 1934 in Zurich (his wife had died the year before). The Baron took her out of her quasi-bohemian life and finally secured her place in high society again, with a title to boot. She repaid him by convincing him to sell many of his estates in Eastern Europe and move his money to Switzerland. She saw the coming of World War II from a long way off, much sooner than most of her contemporaries. She did make a few concessions to the changing times as the decade passed; her art featured a few refugees and common people, and even a Christian saint or two, as well as the usual aristocrats and cold nudes.

Later lifeIn the winter of 1939, Lempickaand her husband started an "extended vacation" in the United States. She immediately arranged for a show of her work in New York, though the Baron and Baroness chose to settle in Beverly Hills, California, living in the former residence of Hollywood director King Vidor. She cultivated a Garboesque manner. The Baroness would visit the Hollywood stars on their studio sets, such as Tyrone Power, Walter Pidgeon, and George Sanders and they would come to her studio to see her at work. She did war relief work, like many others at the time; and she managed to get Kizette out of Nazi-occupied Paris, via Lisbon, in 1941. Some of her paintings of this time had a Salvador Dalíquality, as displayed in Key and Hand, 1941. In 1943, the couple relocated to New York City. Even though she continued to live in style, socializing continuously, her popularity as a society painter had diminished greatly.They traveled to Europe frequently to visit fashionable spas and sothat the Baron could attend to

Hungarian refugee work. For a while, she continued to paint in her trademark style, although her range of subject matter expanded to include still lifes, and even some abstracts. Yet eventually she adopted a new style, using palette knife instead of brushes. Her new work was not well received when she exhibited in 1962 at the Iolas Gallery. Lempickadetermined never to show her work again, and retired from active life as a professional artist.Insofar as she still painted at all, Lempicka sometimes reworked earlier pieces in her new style. The crisp and direct Amethyste (1946), for example, became the pink and fuzzy Girl with Guitar (1963). She showcased at the Ror VolmarGallery in Paris from 30 May to 17 June 1961.In memoriam bust of Tamara Łempicka, bronze. City of Kielce, Poland.After Baron Kuffner's death from a heart attack on 3 November 1961 on the ocean liner Liberté en route to New York,she sold most of her possessions and made three around-the-world trips by ship.

Finally Lempicka moved to Houston, Texas to be with Kizetteand her family. (Kizette had married a man named Harold Foxhall, who was then chief geologist for the Dow Chemical Company; they had two daughters.) There she began her difficult and disagreeable later years. Kizetteserved as Tamara's business manager, social secretary, and factotum, and suffered under her mother's controlling domination and petulant behavior. Tamara complained that not only were the paints and other artists' materials now inferior to the "old days" but that people in the 1970s lacked the special qualities and "breeding" that inspired her art. The artistry and craftsmanship of her glory days were unrecoverable. In 1978 Tamara moved to Cuernavaca, Mexico, to live among an aging international set and some of the younger aristocrats. After Kizette'shusband died of cancer, she attended her mother for three months until Tamara died in her sleep on March 18, 1980. She was cremated and her ashes were scattered over the volcano of Popocatepetl on 27 March 1980 by

her Mexican friend Victor Manuel Contreras and her daughter Kizette.Lempicka lived long enough for the wheel of fashion to turn a full circle: before she died a new generation had discovered her art and greeted it with enthusiasm. A retrospective in 1973 drew positive reviews. At the time of her death, her early Art Deco paintings were being shown and purchased once again. A stage play, Tamara, was inspired by her meeting with Gabriele D'Annunzio and was first staged in Toronto; it then ran in Los Angeles for eleven years (1984–1995) at the VFW Post, making it the longest running play in Los Angeles, and some 240 actors were employed over the years. The play was also subsequently produced at the Seventh Regiment Armory in New York City.In 2005, the actress and artist Kara Wilson performed Deco Diva, a one-woman stage play based on Lempicka's life. Her life and her relationship with one of her models is fictionalized in Ellis Avery's novel The Last Nude,whichwon the American Library Association Stonewall Book Awards Barbara Gittings Literature Award for 2013.

ShirazAbout this sound pronunciation is the sixth most populouscity of Iran and the capital of Fars Province . At the 2011 census, the population of the city was 1,460,665 and its built-up area with Shahr-e Jadid-e Sadra was home to 1,500,644 inhabitants. Shiraz is located in the southwestof Iran on the RoodkhaneyeKhoshk seasonal river. It has a moderate climate and has been a regional trade center for over a thousand years. It is regarded as one of the oldest cities of ancient Persia.The earliest reference to the city,as Tiraziš, is on Elamite claytablets dated to 2000 BC.In the 13th century, Shiraz became a leading center of the arts and letters, due to the encouragement of its ruler and the presence of many Persian scholars and artists. It was the capital of Persia during the Zand dynasty from 1750 until 1781, as well as briefly during theSaffarid period. Two famous poets of Iran, Hafez and Saadi, are from Shiraz.Shiraz is known as the city of poets, literature, wine and flowers. It is

also considered by many Iranians to be the city of gardens, due to the many gardens and fruit trees that can be seen in the city. Shiraz has had major Jewish and Christian communities. The crafts of Shiraz consist of inlaid mosaic work of triangular design; silver-ware; pile carpet-weaving and weaving of kilim, called gilim and jajim in the villages and among the tribes. In Shiraz industries such as cement production, sugar, fertilizers, textile products, wood products, metalwork and rugs dominate.Shirāz also has a major oil refinery and is also a major centerfor Iran's electronic industries: 53% of Iran's electronic investment has been centered in Shiraz.Shiraz is home to Iran's first solar power plant.Recently the city's first wind turbine has been installed above Babakoohi mountain near the city.EtymologyShiraz, Iran is pictured in this handout photo courtesy of Col. Chris Hadfield of the Canadian Space Agency, who is photographing Earth from the International Space Station, taken on March 20, 2013 . 16

The earliest reference to the city is on Elamite clay tablets dated to 2000 BCE, found in June 1970, while digging to make a kiln for a brick factory in the south western corner of the city. The tablets written in ancient Elamite name a city called Tiraziš.Phonetically, this is interpreted as . This name became Old Persian /širājiš/; through regular sound change comes the modern Persian name Shirāz. The name Shiraz also appears on clay sealings found at a 2nd-century CE Sassanid ruin, east of the city. By some of the native writers, the name Shiraz has derived from a son of Tahmuras, the third Shāh (King) of the world according to Ferdowsi's ShāhnāmaPre-IslamicShiraz is most likely more than 4,000 years old. The name Shiraz is mentioned in cuneiform inscriptions from around 2000 BCE found in southwestern corner of the city.According to some Iranian mythological traditions, it was originally erected by TahmurasDive Band, and afterward fell to ruin. The oldest sample of wine in the world, dating to approximately 7,000 years ago, was discovered on

clay jars recovered outside of ShirazIn the Achaemenian era, Shiraz was on the way from Susa to Persepolis and Pasargadae. In Ferdowsi'sShāhnāma it has been said that Artabanus V, the Parthian Emperor of Iran, expanded his control over Shiraz. Ghasre Abu-Nasr which is originally from Parthian era is situated in this area. During the Sassanid era, Shiraz was in between the way which was connecting Bishapur and Gur to Istakhr. Shiraz was an important regional centerunder the Sassanians.Islamic periodThe city became a provincial capital in 693, after Arab invaders conquered Istakhr, the nearby Sassanian capital. As Istakhr fell into decline, Shiraz grew in importance under the Arabs and several local dynasties.The Buwayhid empire (945–1055) made it their capital, building mosques, palaces, a library and an extended city wall. It was also ruled by the Seljuks and the Khwarezmians before the Mongol conquest.

The city was spared destruction by the invading Mongols, when its local ruler offered tributes and submission to Genghis Khan.Shiraz was again spared by Tamerlane, when in 1382 the local monarch, Shah Shoja agreed to submit to the invader. In the 13th century, Shiraz became a leading center of the arts and letters, thanks to the encouragement of its ruler and the presence of many Persian scholars and artists. For this reason the city was named by classical geographers Dar al-‘Elm, the House of Knowledge.Amongthe Iranian poets, mystics and philosophers born in Shiraz were the poets Sa'di and Hafiz,themystic Roozbehan, and the philosopher Mulla Sadra. Thus Shiraz has been nicknamed "The Athens of Iran".As early as the11th century, several hundred thousand people inhabited Shiraz. In the 14th century Shiraz had sixty thousand inhabitants. During the 16th century it had a populationof 200,000 people, which by the mid-18th century had decreased to only 50,000.

In 1504, Shiraz was captured by the

forces of Ismail I, the founder of the Safavid dynasty. Throughout the Safavid empire (1501–1722) Shiraz remained a provincial capital and Emam Qoli Khan, the governor of Fars under Shah Abbas I, constructed many palaces and ornate buildings in the same style as those built during the same period in Isfahan, the capital of the Empire.After the fall of the Safavids, Shiraz suffered a period of decline, worsened by the raids of the Afghans and the rebellion of its governor against Nader Shah; the latter sent troops to suppress the revolt. The city was besieged for many months and eventually sacked. At the time of Nader Shah's murder in 1747, most of the historical buildings of the city were damaged or ruined, and its population fell to 50,000, one-quarter of that during the 16th century.

Shiraz soon returned to prosperity under the rule of Karim Khan Zand, who made it his capital in 1762. Employing more than 12,000 workers, he constructed a royal district with a fortress, many administrative buildings,

a mosque and one of the finest covered bazaars in Iran. He had a moat built around the city, constructed an irrigation and drainage system, and rebuilt the city walls.However, Karim Khan's heirs failed to secure his gains. When Agha Mohammad Khan, the founder of the Qajar dynasty, eventually came to power, he wreaked his revenge on Shiraz by destroying the city's fortifications and moving the national capital to Tehran. Although lowered to the rank of a provincial capital, Shiraz maintained a level of prosperity as a result of the continuing importance of the trade route to the Persian Gulf. Its governorship was a royal prerogative throughout the Qajar dynasty.Many of the famous gardens, buildings and residences built during this time contribute to the city's present skyline.Shiraz is the birthplace of the co-founder of the Bahá'í Faith, the Báb(Siyyid 'Ali-Muhammad, 1819–1850). In this city, on the eveningof 22 May 1844, he first declared his mission as the bearer of a new divine revelation. For this reason

Shiraz is a holy city for Bahá’ís, and the city, particularly the house of the Báb, was identified as a place of pilgrimage.Due to the hostile climate towards Baha'is in Iran, the house has been the target of repeated attacks; the house was destroyed in 1979, to be paved over two years later and made into a public square.Further information: 1910 Shiraz blood libelIn 1910, a pogrom of the Jewish quarter started after false rumours that the Jews had ritually killed a Muslim girl. In the course of the pogrom, 12 Jews were killed and about 50 were injured,and 6,000 Jews of Shiraz were robbed of all their possessions.The city's role in trade greatly diminished with the opening of the trans-Iranian railway in the 1930s, as trade routes shifted to the ports in Khuzestan. Much of the architectural inheritance of Shiraz, and especially the royal district of the Zands, was either neglected or destroyed as a result of irresponsible town planning under the Pahlavi dynasty.

Lacking any great industrial, religious or strategic importance, Shiraz became an administrative center, although its population has nevertheless grown considerably since the 1979 revolution.Modern timesThe city's municipality and other related institutions have initiated restoration and reconstruction projects.Some of the most recent projects have been the complete restoration of the Arg of KarimKhan and of the Vakil Bath, as well as a comprehensive plan for the preservation of the old city quarters. Other noteworthy initiatives include the total renovation of the Qur'an Gate and the mausoleum of the poet KhwajuKermani, both located in the Allah-u-Akbar Gorge, as well as the restoration and expansion of the mausoleum of the famous Shiraz-born poets Hafiz and Saadi.Several different construction projects are currently underway that will modernize the city's infrastructure. The Shiraz 1400 chain of projects is set to transform the city.After the Iranian Revolution, Shiraz

was re-established as the capital of Iranian Art and Culture. Shiraz is known as the capital of Persian Art, Culture and Literature.GeographyShiraz is located in the south of Iran and the northwest of Fars Province. It is built in a green plain at the foot of the Zagros Mountains 1,500 metres (4,900 feet) above sea level. Shiraz is 919 kilometres (571 mi) south of Tehran.

A seasonal river, Dry River, flows through the northern part of the city and on into MaharlooLake.[citation needed] As of 1920, the area had a large forest of oak trees.

Michael McEvoyBelfast Northern Ireland born U.K. artist Michael McEvoy based in Nottingham. I studied art at Belfast School of Art and at Manchester and Nottingham. I was the first art and design technician in the United Kingdom for the City Technology Colleges at The Djanogly C.T.C college. From 2008, full time free lance artist and life drawing tutor. While an accomplished artist in etching and engraving, acrylic and water colour painting and wood carving. I have painted in oils for several years. My subject matter mainly concentrates on figurative art or portraits. Often relating to experiences from life or from memories of my childhood’s whimsical imagination. They all have a story to unfold. I have exhibited in the North and Midlands England and Northern Ireland. Painting private commissions the UK and Ireland, U.S.A. Canada, China and Thailand. I have paintings in private collections throughout the world. Artist Statement My art does not seek to shock, affront, distort,

deconstruct, or dissolve. It seeks only to invite you to share my world. The world you may enter when you find a forgotten and faded photograph at the back of a drawer. Or hear an old tune on the radio. Or a home town accent when you are far from home. Distant memories, happy days, a coffee on the pier. As an artist I will never be without inspiration as even alone, a human gazes back from the mirror.

22

My painting styles are contemporary, yet classical / traditional / realist and occasionally naive or impressionist. At times a mixture of styles and nearly always narrative paintings. The composition and technique I use is influenced and inspired by the realism and romanticism of my favourite renaissance Masters. Their wonderful, timeless masterpieces and the Pre-Raphaelite Brotherhood. Predominantly figurative. The tendency of my artwork is towards carefully composed anonymity. Capturing the emotions and self belief of the subject, rather than characteristic individual representation. The creation of figurative artwork not only depicts the emotions of the artist. It transforms the artist’s emotions.

http://www.aziz-anzabi.com