Untitled (Three Ladies)

One of the pioneers of the Modern Expressionist movement in Syria, the late artist Nazir Nabaa embarked on a lifetime of rich cultural engagement through numerous exhibitions, journalism and an academic practice that continues to be revered. As an art teacher in Deir Ezzor, the North Eastern part of Syrian, Nabaa was heavily influenced by the mystical legends of Mesopotamia. As a result, his work took on and adaptation of surface, shape and colours that were reminiscent of this ancient and rich civilisation, the female figure consistently the central focal part of his oeuvre. Mostly inspired by the goddess Ishtar, his female protagonists are presented in soft delicate representations of women that are at once both godly whilst mortal. They would become a representation of his own Syrian goddess and rooted within society would encapsulate the strong traditions of the rich lands of Syria. He remained always at heart a Damascene, so much so that features of architecture and traditions featured heavily in his canvases.

Christie’s is proud to present a seminal triptych by the artist that captures his beloved respect for the female form. Intended as a symbol of the fertile rich land of dreams, this important work evokes the ancient classical theme of the Three Graces. Representing three women and thus in turn the virtues of chastity, beauty and love, Nabaa directs his viewer to the metaphorical idea of a springtime marriage.

As these women are set against intricately and highly rich ornamented backgrounds with arabesque geometric designs, Nabaa references the highly decorated interiors of old Damascene homes whilst simultaneously paying homage to the passage of time. Heavily adorned in beautiful Levantine elements such as locks, trinkets, keys, prayer beads, incense burners, rings on all fingers, silver bracelets encrusted with amber and precious stones, their beautifully intricate dresses also incorporate arabesque embroidery that merges and interlinks with the arabesque of the background – making them as one comprehensive and captivating entity. Delicate like silk brocade lace, Nabaa’s painterly touch and sleight of hand is very light, demonstrating Nabaa’s mastery in illustrating such kinds of fabric. The central figure is illustrated as a beautiful and chaste goddess with a flowery crown and veil, flowing richly behind her elegant figure. With her crossed arms, she guards a precious secret, holding tight onto some mysterious edifices. Depicted as the idealised woman, she is concurrently the perfect mother, the perfect wife and the perfect city; the capital Damascus. Emphasising her full blossoming beauty and lustre, celebrating ideas of fertility, motherhood and the gift of life, this goddess is intended to be both the beginning and continuity of the meaning of life.

On her left, another young woman, pearls adorning her head, symbolises purity. Her wavy hair cascades gloriously like a waterfall onto her shoulder, evoking the richness of the land. She symbolises civilisation and enlightenment using the burning and fiery glow of the light, guiding her goddess to the truth. On the right side, the third figure gracefully holds gathered fruits in a basket, a symbol of both springtime and fertility. Set within the confines of his frame as well as the arabesque interior, Nabaa enforces the sanctity of marriage, an ideal that remained a big focus as an underlying theme in many of his works.

A dreamer of better times, in attempt to forget the harsh reality of 1980s Syria, Nabaa intended to flood his images with an overwhelming sense of optimism and glow that radiates from his canvases. Looking to fill the gap between reality and the imaginary, Nabaa’s magical mastery of both colour and sheer technical skill cements his place in the history of an artistic practice in Syria.