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Lot Essay
Born in Baghdad in 1914, Faeq Hassan is often considered one of the founding fathers of Modern Art in Iraq. Paving the way for a development of a distinctive style that was to dominate the Iraqi visual lexicon devoted to expressing growing feelings of national pride amongst Iraqi citizens, during his artistic career he took on many roles within the burgeoning Iraqi art scene, including educator and founder.
Interested in developing his own technical skill, in 1933 Hassan’s artistic aptitude was awarded when he was granted a government-funded scholarship to study art in Europe. He enrolled at the Ecole Nationale Supérieure des Beaux-Arts, where receiving a rather traditional education in the arts he became impressed and enamoured by the art of Delacroix, Ingres and Matisse. He was particularly interested in their use and significance of colour that was to remain an integral part of his own artistic sensitivity. Participating in various art history classes and more importantly projects that copied master works, Hassan’s years in Paris reflected a time of synthesis, reflection and exploration into the ever expanding and mesmerising international art scene.
It was his return to Baghdad where Faeq cemented his legacy in becoming a leading artist in Iraq that continues to be a powerful influence to those practicing today. Returning in 1938, in 1939 Hassan founded the department of painting accepting the position as director of the Department of Painting and Sculpture at the Fine Arts Institute, formerly the Institute of Music. Throughout his tenure, Hassan instilled an importance in the studies of Western painting techniques, as well as Islamic and Arabic folk arts such as pottery, metal work and tapestry. Over the next decade, under Hassan’s leadership and guidance, the Institute became the centre of artistic activity and Hassan's reputation as a leading figure in Iraqi art education was firmly established.
During this time, there had been the development of an artistic group which identified themselves as the Art Friends Society. Although Hassan did exhibit a few times with them, following the end of WWII and the end of the 1940s, it was his pivotal position as a founder of the Société Primitive in 1950, or Ar-Rawwad (The Pioneers) as they later became known, that allowed Faeq to truly shine as a teacher and participant in the effort to create an individual stylistic tendency that questions the notions of identity and search for social awareness. Although The Pioneers did not create nor issue a direct manifesto, the aim of the group focused on such qualities as skill, primitive expressiveness and originality in the use of lines, colours and light, qualities exemplified by Hassan who kept in his mind’s eye the paintings of Courbet, Delacroix, Neo-Classicists and the Impressionists.
Hassan's own artistic practice was marked by technical skill and variation. Throughout his career he experimented with various art styles and has been labelled a Primitive, an Impressionist, and a Cubist. Creating an art nurtured by the treasures of the Iraqi Museum, the Sumerian, Babylonian and Assyrian cultures of Mesopotamia and motifs Arabic Islamic heritage, whilst continuously inspired by the art movements of Europe, Hassan developed a distinctive unique with an expert acuteness for artistic techniques that was acknowledged and revered by his students and colleagues alike.
In 1967, Faeq formed another art group known as Az-Zawiya, or The Angle. Formed as a reaction to the Arab-Israeli June War, the group had a powerful message informed by the political and nationalistic aims which art making could advance. This marked a completely different direction from the previous visual lexicon that he had employed in his prior works. Short lived – they exhibited only once - and thus extremely difficult to find works by the artist from this period.
Christie’s is delighted to be offering a seminal work from this phase in the artist’s oeuvre, a magnificent and rare depiction of what is presumably the Battle of Hattin capturing the moment where Salah Al-Din Al Ayoubi defeats the Crusaders to reclaim and liberate Jerusalem. The Battle of Ḥaṭṭin was a battle in northern Palestine that marked the defeat and annihilation of the Christian Crusader armies of the king of Jerusalem by the Muslim forces of Salah Al-Din. It paved the way for the Muslim reconquest of the city of Jerusalem and the kingdom of Jerusalem—thus nullifying the achievements made in the Holy Land by the leaders of the first Crusades and alerting Europe to the need for a third Crusade.
Impressive in its sheer size and technical mastery, Faeq seeks to submerge the beholder in the atmosphere of this phenomenal artistic work designed with remarkable precision in every detail - an aesthetic submersion in which surface and depth unite in one swift and direct emotional response. By virtue of the cohesiveness of each of the parts within its intricate composition it simultaneously depends entirely on a central dynamic point of its subject that brings to light the artist’s ideological subject matter and contextual motivational aspect of his work.
In all of his compositions Hassan would implement an imaginary triangle that would encompass the main subject matter of the picture, a principle learned through his academic training in France. Equally, the overall composition itself would be contained in a square or rectangle and divided into four identical parts. In the present work this theory is more poignant than ever. The viewer’s eye is directly attracted to the figure of Salah Al-Din in the left, his sword raised in sheer victory, poised and regal in his stern look towards the future. Yet the overall scene itself is made up of separate vignettes that in themselves deserve close attention and an examination of composition and subject matter; on the right one sees a number of Salah Al-Din’s army men in deep battle, a cacophony of armour, swords and men whilst in the centre of the composition which is markedly empty a body lays across the centre, his crusader sword thrown across the battle of the scene as if to cement the fall of the Crusaders and their symbol of St George. Equally Hassan captures the exact moment where the King of Jerusalem, clearly dressed in Roman robes, meets his impending fate. In the background, hints to architecture, interspersed with the Mountains of Hattin are punctuated by large and impending flags that speak of the sheer volume of each of the armies and the pivotal importance of the battle.
Displaying a distinguished practical skill which amply proves his mastery, Hassan’s command of colour is exemplified here. Through the blending of shadows, the harmony of adjoining colours of poignant reds, bright yellows and greens reflect a prismatic use of colour that is reminiscent of the chiaroscuro technique and therefore a blatant reference to the artist’s academic training and detailing. The strong tonal contrasts between light and dark add a particularly theatrical effect that reflects the dramatic nature of the scene in question. Through a sense of dynamism that is exemplified in Hassan’s compositional sensitivity, the interspersed bursts of red, meant to highlight Salah Al-Din’s army members, stand out as reflective gems across the canvas. The yellow cape, afforded only to the Crusader king is rich in its detailing. Hassan’s ability to capture the almost three dimensional detailing of this figures brings this scene very much to life.
On closer examination it becomes clear that Hassan’s technical mastery is directly linked to his appreciation for the Western and French technique. It is telling of his art historical knowledge that one can see direct links and references to Christian manuscripts from the French school in his compositional detailing. Equally there appears to be a direct reference to the Neo-Classicist style of depicting these grandiose battles, the technique and mastery is very much evident in Fragonard’s painting Saladin I (1138-93) in Jerusalem which no doubt would have been a big source for Hassan; he employs similar compositional techniques as well as a similar colour palette. On closer view it becomes clear that Hassan’s implementation of these academic techniques was not meant to be an imitation of what had been happening in Europe, he too reference Islamic manuscripts and miniatures that documented battles fought and would no doubt have been at his disposal at the various museums in Baghdad. In The Battle Of The Safavid And The Uzbegs, there is a blatant similarity in composition that shows a sensitivity to the dense amalgamation of bodies, armour, flags and exterior to highlight the intensity of the scene. It becomes clear that Hassan’s references are thus not restricted to the European style and so lay testament to his intention through the Pioneers to create a unique style that would be an amalgamation of all.
Painted in 1968, the year of this particular work is extremely relevant. Clearly an extension of the intentions of Az-Zawiya group, it becomes apparent that Hassan’s choice to depict the Battle of Hattin reflects a direct intention to provide a political and social commentary on the state of the Arab countries as well as Iraq and Palestine following the Six-Day War in 1967. In some ways proclaiming that victory will once again be imminent, Salah Al-Din who is revered as an Iraqi historical hero (although originally Kurdish he was famously referenced as Saddam Hussein’s ideal historical figure) is the apt choice to reference the Arab Nationalistic hope of a liberated Palestine and thus consequently Jerusalem. Much like the battle of Hattin, Hassan thus calls for defeat of the Israeli and their Western counterpart forces. It could be construed that his intention to use the European style was a reflection for the disdain of their support, but most likely would have been a clear message to highlight that history was repeating itself.
Rich in symbolism, the present work dazzles in its sheer impressive composition and implementation of skill. Deep beneath its surface lies an intention to promote art as having the ability to examine and question notions and values of art, its power to change and impress versus society, humanity and identity at a time where Arab Nationalism and particularly Nasserism was slowly fading and the concept of Iraqi identity was being strongly challenged. Hassan’s masterpiece is truly exceptional, reflecting a deep insight into the inner works of a meticulous master of colour, style and composition.
Interested in developing his own technical skill, in 1933 Hassan’s artistic aptitude was awarded when he was granted a government-funded scholarship to study art in Europe. He enrolled at the Ecole Nationale Supérieure des Beaux-Arts, where receiving a rather traditional education in the arts he became impressed and enamoured by the art of Delacroix, Ingres and Matisse. He was particularly interested in their use and significance of colour that was to remain an integral part of his own artistic sensitivity. Participating in various art history classes and more importantly projects that copied master works, Hassan’s years in Paris reflected a time of synthesis, reflection and exploration into the ever expanding and mesmerising international art scene.
It was his return to Baghdad where Faeq cemented his legacy in becoming a leading artist in Iraq that continues to be a powerful influence to those practicing today. Returning in 1938, in 1939 Hassan founded the department of painting accepting the position as director of the Department of Painting and Sculpture at the Fine Arts Institute, formerly the Institute of Music. Throughout his tenure, Hassan instilled an importance in the studies of Western painting techniques, as well as Islamic and Arabic folk arts such as pottery, metal work and tapestry. Over the next decade, under Hassan’s leadership and guidance, the Institute became the centre of artistic activity and Hassan's reputation as a leading figure in Iraqi art education was firmly established.
During this time, there had been the development of an artistic group which identified themselves as the Art Friends Society. Although Hassan did exhibit a few times with them, following the end of WWII and the end of the 1940s, it was his pivotal position as a founder of the Société Primitive in 1950, or Ar-Rawwad (The Pioneers) as they later became known, that allowed Faeq to truly shine as a teacher and participant in the effort to create an individual stylistic tendency that questions the notions of identity and search for social awareness. Although The Pioneers did not create nor issue a direct manifesto, the aim of the group focused on such qualities as skill, primitive expressiveness and originality in the use of lines, colours and light, qualities exemplified by Hassan who kept in his mind’s eye the paintings of Courbet, Delacroix, Neo-Classicists and the Impressionists.
Hassan's own artistic practice was marked by technical skill and variation. Throughout his career he experimented with various art styles and has been labelled a Primitive, an Impressionist, and a Cubist. Creating an art nurtured by the treasures of the Iraqi Museum, the Sumerian, Babylonian and Assyrian cultures of Mesopotamia and motifs Arabic Islamic heritage, whilst continuously inspired by the art movements of Europe, Hassan developed a distinctive unique with an expert acuteness for artistic techniques that was acknowledged and revered by his students and colleagues alike.
In 1967, Faeq formed another art group known as Az-Zawiya, or The Angle. Formed as a reaction to the Arab-Israeli June War, the group had a powerful message informed by the political and nationalistic aims which art making could advance. This marked a completely different direction from the previous visual lexicon that he had employed in his prior works. Short lived – they exhibited only once - and thus extremely difficult to find works by the artist from this period.
Christie’s is delighted to be offering a seminal work from this phase in the artist’s oeuvre, a magnificent and rare depiction of what is presumably the Battle of Hattin capturing the moment where Salah Al-Din Al Ayoubi defeats the Crusaders to reclaim and liberate Jerusalem. The Battle of Ḥaṭṭin was a battle in northern Palestine that marked the defeat and annihilation of the Christian Crusader armies of the king of Jerusalem by the Muslim forces of Salah Al-Din. It paved the way for the Muslim reconquest of the city of Jerusalem and the kingdom of Jerusalem—thus nullifying the achievements made in the Holy Land by the leaders of the first Crusades and alerting Europe to the need for a third Crusade.
Impressive in its sheer size and technical mastery, Faeq seeks to submerge the beholder in the atmosphere of this phenomenal artistic work designed with remarkable precision in every detail - an aesthetic submersion in which surface and depth unite in one swift and direct emotional response. By virtue of the cohesiveness of each of the parts within its intricate composition it simultaneously depends entirely on a central dynamic point of its subject that brings to light the artist’s ideological subject matter and contextual motivational aspect of his work.
In all of his compositions Hassan would implement an imaginary triangle that would encompass the main subject matter of the picture, a principle learned through his academic training in France. Equally, the overall composition itself would be contained in a square or rectangle and divided into four identical parts. In the present work this theory is more poignant than ever. The viewer’s eye is directly attracted to the figure of Salah Al-Din in the left, his sword raised in sheer victory, poised and regal in his stern look towards the future. Yet the overall scene itself is made up of separate vignettes that in themselves deserve close attention and an examination of composition and subject matter; on the right one sees a number of Salah Al-Din’s army men in deep battle, a cacophony of armour, swords and men whilst in the centre of the composition which is markedly empty a body lays across the centre, his crusader sword thrown across the battle of the scene as if to cement the fall of the Crusaders and their symbol of St George. Equally Hassan captures the exact moment where the King of Jerusalem, clearly dressed in Roman robes, meets his impending fate. In the background, hints to architecture, interspersed with the Mountains of Hattin are punctuated by large and impending flags that speak of the sheer volume of each of the armies and the pivotal importance of the battle.
Displaying a distinguished practical skill which amply proves his mastery, Hassan’s command of colour is exemplified here. Through the blending of shadows, the harmony of adjoining colours of poignant reds, bright yellows and greens reflect a prismatic use of colour that is reminiscent of the chiaroscuro technique and therefore a blatant reference to the artist’s academic training and detailing. The strong tonal contrasts between light and dark add a particularly theatrical effect that reflects the dramatic nature of the scene in question. Through a sense of dynamism that is exemplified in Hassan’s compositional sensitivity, the interspersed bursts of red, meant to highlight Salah Al-Din’s army members, stand out as reflective gems across the canvas. The yellow cape, afforded only to the Crusader king is rich in its detailing. Hassan’s ability to capture the almost three dimensional detailing of this figures brings this scene very much to life.
On closer examination it becomes clear that Hassan’s technical mastery is directly linked to his appreciation for the Western and French technique. It is telling of his art historical knowledge that one can see direct links and references to Christian manuscripts from the French school in his compositional detailing. Equally there appears to be a direct reference to the Neo-Classicist style of depicting these grandiose battles, the technique and mastery is very much evident in Fragonard’s painting Saladin I (1138-93) in Jerusalem which no doubt would have been a big source for Hassan; he employs similar compositional techniques as well as a similar colour palette. On closer view it becomes clear that Hassan’s implementation of these academic techniques was not meant to be an imitation of what had been happening in Europe, he too reference Islamic manuscripts and miniatures that documented battles fought and would no doubt have been at his disposal at the various museums in Baghdad. In The Battle Of The Safavid And The Uzbegs, there is a blatant similarity in composition that shows a sensitivity to the dense amalgamation of bodies, armour, flags and exterior to highlight the intensity of the scene. It becomes clear that Hassan’s references are thus not restricted to the European style and so lay testament to his intention through the Pioneers to create a unique style that would be an amalgamation of all.
Painted in 1968, the year of this particular work is extremely relevant. Clearly an extension of the intentions of Az-Zawiya group, it becomes apparent that Hassan’s choice to depict the Battle of Hattin reflects a direct intention to provide a political and social commentary on the state of the Arab countries as well as Iraq and Palestine following the Six-Day War in 1967. In some ways proclaiming that victory will once again be imminent, Salah Al-Din who is revered as an Iraqi historical hero (although originally Kurdish he was famously referenced as Saddam Hussein’s ideal historical figure) is the apt choice to reference the Arab Nationalistic hope of a liberated Palestine and thus consequently Jerusalem. Much like the battle of Hattin, Hassan thus calls for defeat of the Israeli and their Western counterpart forces. It could be construed that his intention to use the European style was a reflection for the disdain of their support, but most likely would have been a clear message to highlight that history was repeating itself.
Rich in symbolism, the present work dazzles in its sheer impressive composition and implementation of skill. Deep beneath its surface lies an intention to promote art as having the ability to examine and question notions and values of art, its power to change and impress versus society, humanity and identity at a time where Arab Nationalism and particularly Nasserism was slowly fading and the concept of Iraqi identity was being strongly challenged. Hassan’s masterpiece is truly exceptional, reflecting a deep insight into the inner works of a meticulous master of colour, style and composition.