The Pioneers of Iranian New Painting
A Manifesto of a Forgotten History
Bibliographic Data
| ID | 12955442 |
|---|---|
| Authors | Alice Bombardier (0009-0007-2470-9240, Institut National des Langues et Civilisations Orientales, corresponding author) |
| Year | 2020 |
| Volume | 13 |
| Issue | 1 |
| Pages | 98-115 |
| Publication date | 2020-05-13 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Middle East Journal of Culture and Communication (JOURNAL) |
| Journal identifiers | ISSN: 1873-9857 • E-ISSN: 1873-9865 |
| Publisher | Brill (PUBLISHER • NL) |
| DOI | 10.1163/18739865-01301007 |
| OpenAlex | W3025881181 |
| Language | EN |
| References cited | 2 |
In an interview, the Iranian painter Ahmad Esfandiari (1922–2012) related that he witnessed a particularly difficult time at the beginning of his career, when he did not know what direction his work might take. Slowly he overcame this fear of the unknown and discovered ‘the pleasure of uncharted paths’. But the critics did not see any social value in his work (Mojabi 1998: 155). In his testimony, Ahmad Esfandiari described the tumultuous 1940s, during which an innovative pictorial style called ‘New Painting’ appeared in Iran. Contrary to popular opinion, contemporary Iranian painting did not begin in the 1960s with the Saqqakhaneh group of artists. Its origins can be found in the 1940s. In this article, conceived as a manifesto, I introduce the first generation of New Painting artists and I argue against a canon that has overlooked them in spite of their innovative accomplishments and profound impact
Aesthetics · Art · Art history · Manifesto · Painting · Pleasure · Political science · Style (visual arts · Value (mathematics · Visual arts · Architecture and Cultural Influences · Computer Science · Historical and Architectural Studies · Islamic Studies and History · Law · Psychology
| Highly cited | No |
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