Sunday, May 4, 2008
Faten Hamama
Name: Faten Ahmed Hamama
Birth Date: 5/7/1931
Biography: Faten Ahmed Hamama, one of the most important actresses in the history of Arabic cinema, was born in Cairo. After graduating from the Acting Institute in 1947, she started her career performing in minor roles. Aspiring for greater roles, she applied to a contest for the movie Youm Saeed, with Mohamed Abd El Wahab. Hamama worked in a collection of short TV series titled Hekaya Wara' Kol Bab and turned four episodes of the series into a movie. She also hit Hollywood by starring in the American film titled Cairo.
She was the recipient for several prestigious awards and was elected as a member of the judging committee for several festivals. Faten Hamama has left her mark on the cinema stage and is known as "Sayedit El Shasha El Arabiya" or the "Lady of the Arab screen".
Hoda Sultan
She starred throughout her more than 55-year artistic career around 60 movies, 15 TV serials and 8 plays. As a singer, she sang about 100 songs.
Sultan's real name is Gamalat Abdel Aal El Hew. She was born on August 15, 1925 in a Gharbeya governorate for an Egyptian father and Turkish mother. She ranked the third among five; two brothers and three sisters. Sultan is the sister of the late singer Mohamed Fawzy.
Her first movie was "Set Al Hosn" (The Lady of Beauty) in 1950. Then, she met with the late actor Farid Shawki (1922 – 1998) to form a duo that turned afterwards to a romance and they got married. The duo Sultan and Shawki starred many movies during the fifties among of which are "Al Osta Hassan" (Driver Hassan), "Ga'alouni Mogreman" (They Made me a Culprit), "Raseef Nemra Khamsa" (Platform No. 5), "Al Mohtal" (The Fraud) and "Limien Hawak" (Whom do you Love).
After her divorce from Shawki in the sixties, she got married to the play director Hassan Abdel Salam. Meanwhile, she participated in few plays such as "Wedad Al Ghazeya" (Wedad the Dancer) and "Al Malak Al Azraq" (The Blue Angel).
Sultan is most famous for her roles in great movies like “Emraa Ala Altareeq” (A Woman on the Way), “Shay' fi Sadri” (Something Deep Inside), “Al Ekhteyar” (The Choice), “Wada'an Bonaparte” (Farewell Bonaparte), “Awdet El Ebn El Dall” The Return of the Lost Son), the last three were directed by Youssef Chahin. Her last movie was “Men Nazret Ain” (From the First Glance) (2003).
In the past couple of years she played the role of the mother in many TV serials such as “Wada'an Ya Rabie Al Omr” (Farewell Spring), “La Ya Ebnati Al Aziza” (No, My Dearest Daughter), “Arabesque”, “Zizinia” and the trilogy of “Bain El Qasrain” (Between the Two Palaces), the TV adaptation of the novelist Naguib Mahfouz's trilogy.
She passed away on June 5, 2006.
Abdul-Moneim Madbouli
Thanks to his dramatic genius, the great actor Abdul-Moneim Madbouli was the first who established the first free theatrical group in Egypt with his colleagues in 1952. The group introduced a number of the theatrical shows out of known traditional theatre of that time.
Madbouli was born in Cairo on December 28, 1921 and joined the theatre team in his Industrial Secondary School, then joined the team of George Abiyadh after graduation then Fatma Rushdi's troup before joining the group of Sa'a Leqalbak "Amusing hour for your heart" in 1943 that was operated by the Egyptian Radio Station.
He took part in many plays as an actor and director of which these dramatic works achieved great success. Of these works are:
• Al-Sekertair Al-Fanni (The artistic secretary), in which he played with great actor Fouad Al-Mohandes, Shwekar.
• Al-Maghnatees (the Magnet).
• Al-Nas Elli Taht (the people downstairs).
• Bein El-Qassrein (between the two palaces).
• Zoqaq Al-Madaq (the Madaq Alley).
• Raiya w Skeena (Raiya and Sakina) in which played with actress Shadia, Soheir el-Babli and Ahmed Bedeir.
Madbouli had played the hero role in many comic movies that reached more than 100 films. He also played a great number of television serials of which eminent "Abna'ei Al-A'eizaa Shoukran" "Thanks my dearest sons" which he played with actor Yahia Al-Fakharany, Salah Al-Sa'dani, Farouq Al-Fishawi and Athar Al-Hakim.
Artist Madbouli, head of "the Madboulism Comic Theatrical Artistic School", departed our world before completing his pre-launched life-story since 8 months before. Abdul-Moneim Madbouli could achieve success in the movie world by good performance of his secondary roles and distinguished style.
Famous works by Madbouli:
1. Imra'a Taht Al-Moraqbah "A woman under watch".
2. Al-Mara'a wa Al-Satour (the woman and the cleaver).
3. Al-Sayed Kaf (Mr. K).
4. Krestal (Crystal).
5. Ibtisama Fi Ouyon Hazina (A smile in sad Eyes).
6. Shahadet Magnoon (A crazy testimony).
7. Madrasset Al-Mushaghbeen (the School of the playboys).
8. Fatat Al-Iste'radh (the Show girl).
9. Sooq Al-Hareem (women market)
10. Lel Motazawgeen
Fouad al-Mohandes
1924 - 2006
The third of four siblings, Fouad al-Mohandes was born to a father who was a linguist, a professor at Dar al-Ollum, (the Arabic Language College) and a member of the Arabic Language Academy. As a child, al-Mohandes was influenced most by his father, from whom he inherited his wit and humor.
Al-Mohandes studied at the Faculty of Commerce, Cairo University where he joined the drama group. His life was turned upside down, however, after he watched the great Naguib al-Rihani performing on stage. Later, he became one of the man's followers. This caused him to graduate in six years rather than in four when he should have.
In 1953, after al-Rihani's death, opportunity came knocking at his door. The program saa le-albak (An Hour for the Heart) was launched grouping many of Egypt's comedians of the time, including al-Mohandes.
Having lived close to the Zul-Foqqars, the two brothers Mahmoud and Ezz signed up him for several supporting roles in movies they directed including the Neighbor's daughter, the Good Land and the River of Love, among others
In the early 1960s, Egyptian television began its broadcast. It was then that he became famous in his role in the program waraa al-setar (Behind the Curtains) facing actress Sanaa Gamil. Al-Mohandes later joined television theaters. His major breakthrough was when he took the lead role in a new version of al-Rihani's play al-Secretair al fanni (The Technical Secretary) starring another entrant to the world of entertainment and show business Showikar Toub Saqqal, who later became his wife.
In all his plays and movies, al-Mohandes' motto was "entertainment for the sake of entertainment". His version of "My Fair Lady" earned him a great deal of acclaim. His play ana wa howa wa heya (He, She and I) prophesied the now-pressing housing problem.
He, She and I marked the end of an era in which most performances showed pre-Revolution persecution of farmers and workers and the beginning of another where situation and social comedies were the order of the day in government-run theaters.
In the 1950s, as the nation faced numerous economic and political challenges, private sector theaters were interested only in providing entertainment to the public. This is where al-Mohandes excelled the most.
At the time, movie-makers found al-Mohandes to be their golden-egg-hatching hen. He presented a number of successful movies; e.g. His Excellency the Ambassador, Love in August, a Husband's Confessions, among others. Those were entertaining films.
Al-Mohandes also presented a number of critically acclaimed plays such as ard al-nefaq (Land of Hypocrisy) directed by Fatin Abdul-Wahab (1968) and kan wa kan wa kan (Once upon a Time) directed by Abbas Kamel (1977). In both those two movies, he reached the peak of maturity.
Al-Mohandes died at age 82.
Bahiga Hafez
(b. August 14, 1901; d. September 13, 1983)
Biography
Date of Birth: August 14, 1901; Alexandria, Egypt
Bahiga Ismail Hafez was born in Alexandria where she also received her education. She later became an actress/ director/producer, music composer, pianist and violinist.
Of an aristocratic descent, she turned her house into a place where writers, poets and artists met.
Hafez took part in seven films, the first of which was Zeinab directed by Mohamed Karim in 1930, anded on a novel by Doctor Mohamed Hussein Heikal. It is considered the first Egyptian film adaptation of a novel. Hafez also composed the musical score of the film.
In 1966, Hafez played her last role in a film; i.e. Cairo 30. The role was that of a royal princess in the only color shots of the film. The film was directed by Salah Abu Seif and based on Naguib Mahfouz's novel Al Kahira Al Gadida (The New Cairo).
Besides being an actress, she produced five of the films in which she starred and composed the score for several.
She also composed the music of two other films; i.e. Salwa in 1946 and Al Sayed Ahmed Badawi in 1953.
Bahiga Hafez died in Cairo on September 13, 1983.
FilmographyZeinab: Actress/ producer
Al-dahaya (The Victims): Actress/ producer
Al-Iteham (Accusation): Actress/ producer
Zahrah (Flower): Actress/ producer
Layla bent al-sahara (Layla of the Desert): Actress/ producer
Hend Roustom
name:Hend Hussein Murad
Birth Date::11/12/1931
Biography: The glamorous Hend Roustom was born in Mouharm Bey. With dazzling looks, a seductive personality, and a natural fondness towards the camera, Hend Roustom landed her first role in a film titled Azhaar wa Ashwak alongside the famous actor, Yehia Shahin.Director Hassan El Imam brought Hend Roustom under the spotlight of the Egyptian cinema through casting her the role of the irresistibly sexy woman. This role lent her a reputation as "the Queen of Seduction", "the Marilyn Monroe of the East" and "the Rita Hayworth of the East".
Hend Roustom won several awards for her exceptional acting talent, especially for her role in the film El Gaban wa El Houb in 1975. She was honored by several institutions including the Cairo International Film Festival in 1993.Although she quit acting in the seventies, Hend Roustom is still very popular amongst the Egyptian public.
Several actresses have tried to imitate her role play, but none have so mastered this art of seduction as Hend Roustom.
Taheya Carioca
name:Badawya Muhammad Kareem Ali al-Sayed
Birth Date:22/2/1915
Biography: Her name derived from the name of a popular hero called al-Said al-Badawy. She was born in Esmae'elya, as she was the youngest one among her brothers and sisters.
Her talent appeared in a very early age as she was talented in dancing, singing and acting.
Ta'hya Carioca worked in cinema, radio, TV and theater. Her father and mother weren't Egyptians, her father left her with her grandmother but her elder brother took her to live with him to serve his wife but she refused to do so, as she was treated badly by her brother and his wife, consequently she escaped to Cairo although she had no money at all.
After arriving in Cairo she headed to the famous songbird Soad Mohsen whom she worked with in "Bejo Palace" then she got to know Beshara Wakeem who introduced her to Bade'ea masaab'ni who was known as the queen of nights and theater at that time.
Na'ema Akef
name:Na'ema Akef
Birth Date: 10/7/1939
Biography: Born in Tanta, Na'ema Akef started her career at a very young age. The prodigy started performing at the Akef Circus, owned by her family, and engaged in all types of professional acrobatic games and circus art.
Na'ema became the most talented player and the starring feature of the circus. She died in April 23, 1966. She joined the Road El Farag Theater Group and chose to appear in musical productions. She danced alongside Mohamed El Kahlawy and Ali El Kassar. Na'ema was very ambitious and was allured to the world of acting. Her actress friend, Souad Mekawy, encouraged Na'ema to join the "El Nahass Studio" where she took a minor role in a movie titled, Shadya El Wady, starring Youssef Wahby.However, it wasn't until director Hussein Fawzy discovered her that Na'ema's career skyrocketed. Fawzy played on Na'ema's multiple talents, always delivering her to the audience with a different color and shade.
He directed over fifteen movies for the ever-so glamorous, Na'ema Akef. This working relationship turned into a love affair, and the two got married soon after. Na'ema continued to blossom and soon became the most famous musical performer actress in Egyptian cinema.
Na'ema Fawzy joined one of the first folklore groups to be established in the country, Lail Ya Ayn Group, and she was a tribute to its success. In 1957, she was nominated as the best dancer in a folklore contest at the Youth Festival held in Moscow..Na'ema was afflicted with an acute health problem and died in 1964. She is still remembered for her song and dance and carefree spirit.
Mariam Fakhr El Din
name:Mariam Fakhr El Din
Birth Date: 1/8/1933
Biography: The daughter of an Egyptian father and a Hungarian mother, Mariam Fakhr El Din was born in El Fayoum in 1933. Winning an award from the French magazine, Image, gave Mariam the chance to act in the movie Laketa.
She married director Mahmoud Zou El Foukar and had a daughter, Iman. Mariam starred in many of her husband's movies, while co-starring with Farid El Atrash in many of his films. In the sixties, after the termination of her first marriage, she traveled to Lebanon and married the Syrian singer, Fahd Balan; she also starred with him on some of his movies.
After her divorce, she returned to Egypt and married two times. She also managed to produce three films, which were: Ranet Kholkhal, Rehla Gharamiya, and Ana wa Kalby.
Nour al Sherif
name:Mohamed Gabir Mohamed Abd Allah
Birth Date: 24/4/1946
Biography: Place of Birth: Cairo His real name is Mohamed Gabir Mohamed Abd Allah. In 1967, he graduated with Honors from the Theatre Higher Institute. In 1972, he married Safinaz Kadry (Pussy) and had two daughters, Sarah and May.
At the age of one, his father died. He started acting in the school's theatre group. After graduating from school, he studied in the Faculty of Commerce at Cairo University, then left it and headed to the Theatre Higher Institute.
There he met with Saad Ardash, who nominated him to play a small role in a play called El Shaware' El Khalfeya. The director Kamal Eid, then chose him to act in a play called Romeo & Juliet; during the rehearsals, he met Adel Emam, who, later recommended him to the director Hassan El Emam for a movie called Kasr El Shouk. He won an appreciative award for this role and it was his first prize.
He starred in TV series, such as El Qahira Wa El Nass, Adeeb El Tha;lab,Ln A'yeesh Fe Gilbab Aby, Ibn Roushd and Omar Ibn Abd El Aziz. He introduced a TV show called Shouf Bakhtak. For the first time, he directed a play for El Hanagr Theatre called, El Kahn or the Priest. He received many awards for his movie Keta Ala Nar. He won four prizes for the movies Daa El Oumr ya Walady, Habiby Ta'eman, El Aar, and El Karnak. He got an award from the New Delhi Festival for the movie Sawak El Outobees. He also got a Best Actor Award in the Cairo Film Festival for the movie Leila Sakhena.
Ismail Yassen
name:Ismail Yassen
Birth Date: 1912
Biography: He was a movie star well-known by the public. He was famous as Omar Al-shareef and Ahmed Ramzy in their golden age at the time the idea of being handsome was required.
Inspite of his being not handsome or a man of good looks, he made fun of his physical appearance reflected in his big mouth and big ears in most of his films. Inspite of all that, he occupied high position. This made producers to contract new films with him. He becomes the only hero that his movies related to his name till he reached the highest point. His story makes us pity him. He is from Suez governorate he was born in 1912.
He lived a miserable childhood and unstable life. He didn't complete his education. He left the school in the primary stage after the death of his mother. When he becomes full of talent, he went to Cairo. He seemed to be influenced by Abdel Wahab. He sang in weddings and coffee shops. He joined the group of Badeeaa Masabny.
He was not fit to be a singer because of his funny appearance. He was not fit to perform emotional songs that's why he lived singing monologues being distinguished by it. He became the most famous one in Egypt to sing a monologue. He criticized things available in the society mocking it. After a lot of time, the cinema opened its doors for him as Fouad Al-Gazayerly presented him in the year 1939 in the first of his movies "Khalaf Al-Habayeb". Ismail Yassen was in all of his films either heroism or seond role. Hence, the existance of Ismail Yasseen name in any of his films becomes a door of success.
Atef al-Tayeb
Born on December 26, 1947, in Cairo, Al-Tayeb began his career in the movies by directing the documentary "Morning Paper" in 1972.
His filmography as director includes:
Leila Sakhina (1994)
... aka A Hot Night
Did el hokouma (1992)
... aka Against the Government (International: English title: informal literal title)
Nagi El-Ali (1991)
Heroob, El (1988)
... aka Escape (International: English title)
Zamar, El (1985)
... aka The Piper (literal English title)
Love on the Pyramids Plateau (1984)
... aka Hob fawk habadet al haram, Al (Egypt: Arabic title)
Takhshiba, Al- (1984)
... aka The Arrest (International: English title: informal title)
The Prison Cell (1983)
Sawak al-utubis (1982)
... aka Bus Driver
As assistant director:
Gallipoli (1981)
Sphinx (1981) (second assistant director)
The Awakening (1980)
... aka The Wakening (UK)
Awards
| Moscow International Film Festival | |||
| Year | Result | Award | Category/Recipient(s) |
| 1985 | Nominated | Golden Prize | Zamar, El (1985) |
| | |||
| Paris Biennial of Arab Cinema | |||
| Year | Result | Award | Category/Recipient(s) |
| 1996 | Won | IMA Grand Prize | Leila Sakhina (1994) |
Aziza Amir
(b. December 12, 1901; d. 1952)
Birth name
Mofeeda Mahmoud Ghoneimi
Date of Birth
1901, Damietta, Egypt
Biography
A pioneer, Aziza Amir is one of the true founders of the Egyptian movie industry. Although orphaned, she moved to Alexandria and later to Cairo pursuing an acting career.
Despite the fact that she received no formal education, she educated herself and was well-versed in art and music and well-spoken in French.
In 1925, she made the acquaintance of famous actor/director Youssef Wahbi, who offered her a role in his play al-magd al-za'ef (False Glory). Having worked the season in the Ramsis Theatrical Troupe, she moved on to other places. Her last play on stage was Ahl al-kahf (People of the Cave), directed for the National Theatrical Troupe by Zaki Tolaymat.
Amir's first movie production was the film neda'a al-rab (God's Call), later re-produced under the title "Layla". The film's importance derived from its being the longest feature film at that time. Layla was shot at Sakkarah and in the streets of Cairo. the prints were made at the producer's home which later became a studio.
Amir would not take on any production responsibilities given the losses she sustained after the showing of kaferi ann khatiatak (Pay for Your Sins), which was a silent among many talking films.
Amir was more of a believer in a message which she sought to bring home to her audience than a mere actor/producer. Most of her films reflected the attributes of Egyptian society.
Filmography
•1950s
•1940s
• 1930s
• 1920s
1. Kisma wa nassib (1951)
... aka Fate and Fortune (International: English title)
2. Nadia (1949) .... Nadia
3. Fok el suhab (1948)
... aka Above the Clouds (International: English title)
4. Kul yughanni, El (1948)
... aka Everyone Is Singing (International: English title)
5. Hadaya (1947)
6. Awdat Taqiyyat al ikhfa (1946)
... aka Return of the Magic Hat (International: English title)
7. Dunia bi-kheir, al- (1946)
... aka All Is Well with the World (International: English title)
8. Mughani al maghool, al- (1946)
... aka The Unknown Singer (International: English title)
9. Shamha tahtarek (1946)
... aka A Candle Is Burning (International: English title)
10. Fulus, al- (1945)
... aka Money (International: English title)
11. Ibnati (1944)
... aka My Daughter (International: English title)
12. Taqiyyat al ikhfa (1944)
13. Ibn el balad (1943)
... aka The Urchin (International: English title)
14. Wadi el numjum (1943)
... aka Valley of the Stars (International: English title)
15. Lailat al farah (1942)
... aka Wedding Night (International: English title)
16. Warsha, El (1941)
17. Bayayet el tiffah (1940)
... aka The Apple Seller (International: English title)
18. Bisalamtu ouz itjawaz (1936)
... aka His Highness Wishes to Marry (International: English title)
19. Kaferi ann khatiatak (1933)
... aka Pay for Your Sins (International: English title)
20. Istanbul sokaklarinda (1931)
... aka In the Istanbul Streets (International: English title)
... aka Zitianos tis Stamboul, O (Greece)
21. Bint el Nil (1929)
... aka Daughter of the Nile (International: English title)
22. Laila (1927)
23. Leyla (1927)
Writer:
•1950s
•1940s
1. Khadaini abi (1951) (story)
... aka My Father Deceived Me (International: English title)
2. Fatat min Falastin (1949) (script) (story)
... aka A Girl from Palestine (International: English title)
3. Fok el suhub (1948) (script)
... aka Above the Clouds (International: English title)
4. Hadaya (1947) (script) (story)
5. Ibn el balad (1943) (story and dialogue)
... aka The Urchin (International: English title)
6. Warsha, El (1941) (story) ... aka The Workshop (International: English title)
Producer:
• 1950s
• 1940s
1. Akhlak lel beia (1951) (producer)
... aka Virtue for Sale (International: English title)
2. Fok el suhab (1948) (producer)
... aka Above the Clouds (International: English title)
3. Kul yughanni, El (1948) (producer)
... aka Everyone Is Singing (International: English title)
4. Hadaya (1947) (producer)
Director:
•1930s
•1920s
1. Kaferi ann khatiatak (1933)
... aka Pay for Your Sins (International: English title)
2. Bint el Nil (1929)
... aka Daughter of the Nile (International: English title)
Mohammad Ibrahim Abu Senna
One of the most outstanding poets in Egypt and the Arab World in the 1960s, Mohammad Abu Senna's writing is both eloquent and smooth. His love poems are also unique.
Abu Senna graduated from Al Azhar University's Faculty of Arabic Studies in 1964. He worked as political editor with the State Information Service (1965 – 1975), and later as a radio host in 1976, climbing up to the post of director-general of the Cultural Program in 1995.
Abu-Senna is member of the Poetry Committee of the Supreme Council of Culture, the Egyptian Writers' League, and the Egyptian Center of International Pen.
He participated in the 1990 Kuala Lumpur International Poetry Festival in Malaysia.
Muhammad Bayram al-Tunsi
The pioneer of the Egyptianmodern folkloric poetry and one of the founders of the Arabic lyrical theater in Egypt. Born on March 4, 1893 in Al-Anfoushi district in Baharya Alexandria one year after the birth of his peer Sayed Darwish, the people's artist.
Al-Tunisi received the rudiments of Arabic and Islam in the kutaab of the district, a place where children are taught principles of language and Qur'an recitation. He escaped the lessons and his father moved him to the Institute of Mursi Abu Abass where he closely delved deep into the Arabic language branches such as literature, rhetoric and grammar.
He worked in grocery store then as a trader to make living after the death of his father and mother respectively. During this period, he embarked on reading the Arabic masterpieces of books and getting acquainted with different schools of Arabic poetry. At this very time his poetic genius began to bloom.
The promising poet, Tunsi made his debut in March 25, 1917 with a poem entitled Al Majlis Al Baladi or the Municipal Council. Al Ahali magazine where his first poem was published sold as many as 4,000 issues.
After this marvelous start, he quit trade and published his own magazine Al-Messala on May 4, 1919. He then packed to Cairo to join Darwish's troupe. He wrote the lyrics of Shahrazad operetta. People echoed scenes of this operetta which became a national anthem during the 1919 Revolution.
On August 25, 1920, Tunsi was exiled in Tunisia then in Leon, France but he never ceased sending his poems to the Egyptian newspapers. After two years in exile he managed to secretly sneak into Egypt. Knowing this, the government banished him once again to France, but the French authorities sent him back to Tunisia. During this long and exhausting journey, he wrote many remarkable pieces of work such as Alf Lila Wa Lila or A Thousand Nights and Aqila.
He had troubles with his eye sight and asked permission to go to Syria for treatment. The French authorities gave him permission on condition that he would not come back to Tunisia.
He had spent two years in Syria before the French authorities force him to return to France. On his way back to France, in disguise, he escaped from the ship as it passed the Suez Canal.
Al-Tunsi participated in all aspects of cultural life through his writings published on papers or broadcast on Radio. President Nasser granted him the Egyptian citizenship in 1945, the Medal of Literature and Arts in 1960. He died of asthma in January 1961.
Ahmed Rami
Ahmed Rami belongs to a generation of Egyptian poets who opened wide prospects for Arabic poetry to express man's inner feelings and emotions.
Rami also played a leading role in developing the Arabic song, using simple language to express his sublime themes. The songs he wrote appealed to a large number of people.
Early childhood and education:
Ahmed Mohammed Rami was born in Cairo on August 9th, 1892. Having completed his primary school education in 1907, he joined the prestigious Khedive Secondary School. At this period, he started to develop his poetic talent by attending weekly poetic forums. When he was 15 years old, he wrote his first patriotic poem.
poems. When a dispute arose between the then Minister of Education Saad Zaghloul and the British advisor of his ministry Dunlup over some educational policies, Rami wrote a poem in which he warned the British advisor from the outcome of his policies.
His career:
In 1914, Rami graduated from the Higher Teachers School and was appointed teacher of geography and English language at Cairo Private School. Six years later, he was appointed a librarian at the Higher Teachers Library. This post offered him a unique opportunity to read Arabic, English and French poetry and literature.
In 1924, he left for Paris for a year-long scholarship to study the latest techniques of librarianship. In Paris he studied Persian language at the Oriental Language Institute. The Persian language diploma helped him translate the famous Omar AI-Khayyam Quatrain from the original Persian version to Arabic. His translation was so adequate that it reflected AI-Khayyam's philosophy.
In 1925, he worked as a librarian at the Egyptian National Book House, known as Darul Kotob. He applied the modern techniques he learned in France to organise Darul Kotob.
After working in Darul Kotob for 13 years, he joined the League of Nations as a librarian after Egypt officially aueded to the League. In 1945, he returned to Egypt where he worked as an advisor to the Egyptian Broadcast House.
Three years later he returned to Darul Kotob as a Deputy President. During his career, Ahmed Rami won a large number of awards and orders of merit. In 1965, he was granted Intellectual Excellence Order by King Hassan II of Morocco.
Rami also won the State Order of Merit in literature in 1967. Late President Anwar El Sadat gave him an honorary doctorate in 1976. He was also granted a prestigious Lebanese order of merit and the Paris based Composers Association gave him a memorial plaque with his name engraved on it in recognition of his contributions. On his 64th anniversary, Rami was named "The Poet of Youth" for his role in rejuvenating new Arabic song.
His Readings:
"The Lover's Entertainment through Love Poetry" was the first book Rami read, memorized and was influenced by. It is an anthology of love and courtship poetry, which played a great role in Rami's life, when he was still a boy as it determined his career till death.
When he was 15 years old, he wrote his first patriotic poem. In 1910, Al-Rewaiat Al-Gadida magazine published another poem which was his first poem to be published.
After his graduation from the Higher School of Education, 1914, his main concern was to communicate with contemporary famous poets such as Shawqi, Hafez, Abdel Halim Al-Masri, Ahmed Nassim and others.
In 1918, Rami published his first diwan. It was a literary event at that time. He introduced to Arabic readers a new type of poetry.
In 1927, he was given a two-year scholarship to Paris, where he had the happiest memories of his youth at the Sorbon.
He wrote in three types of literature:
• Love, emotional and patriotic poetry.
• As for dramatic literature, he translated about 15 of Shakespeare's immortal plays such as "Hamlet", "Julios Caesar", "The Tempest" and others which were performed at Yussif Wahbi and Fatma Roshdi theatres.
• In the last years of his life, he was so famous for writing lyrics that people were about to forget his classical poems and plays and only remember his lyrics. Om kulthoom sang an ode written by Ahmed Rami and composed by Sheikh Abu Al-Ala Muhammad which was a great success.
Rami wrote the songs of Muhammad Abdel Wahab's films such as "The White Rose" and " Tears of Love" and some other famous songs as "Why Did You Keep Silent My Tonge" and "On the Ben Tree's Leaves".
Rami's works:
Ahmed Rami practised three sorts of literary activities:
1. In poetry, he wrote in several themes ranging from emotional to patriotic poetry and wrote six collections of poetry.
2. In drama, Rami translated around 15 foreign plays, such as Shakespeare's Hamlet, Julius Ceasar and the Tempest. Moreover, he wrote one play entitled "Love of Poets". He also translated the famous quatrains of the Persian poet Omar El-Khayyam. This translation is one of the most fascinating masterpieces of the modern Arabic literature.
3. In song writing, he wrote more than 500 songs, including 200 for the legendary singer Om Kolthoum. Their co-operation started in 1915 and their last masterpiece was presented in 1972.
Rami, who was described by critics as the pioneer of the Arabic song, started his career at a very early age. He published his first poem in 1910 and eight years later, his first collection of poems was issued. His poems represented a turning point in the Arabic poetry due to his new style in adapting the colloquial Arabic language. One of his most celebrated poems a patriotic one entitled "Voice of the Homeland", was performed by Om Kolthoum and made an outstanding success.
Rami as seen by his contemporaries:
British orientalist Robert Daliro praised his play "Love of Poets" as unprecedented step because it highlighted fears of disintegration among Arab nations which can be seen at present. He added that his translation of Omar AI-Khayyam's Quatrains reflected the philosophy of the poet.
Om Kolthoum described him as a spiritual combination of inspired feelings, deep suppressed revolution, tranquillity and devotion. He was the poet who rejuvenated the Egyptian song.
Renowned critic and poet Dr. Ahmed Taimour praised his role in developing and cultivating the colloquial Arabic language through using it in his poems.
His first collection captured the attention of his contemporary poets like Khalil Motran, Ahmed Shawqi, Hafez Ibrahim and El-Mazni. They said that his poetry expressed the various conditions of the human spirit.
Rami, who died on June 4th, 1981, was influenced by some Arab, English, French and Persian poets
Hafiz Ibrahim
July 21, 1932 marks the death of the poet Hafiz Ibrahim who was born in 1872 in Dayrut to an Egyptian father and a Turkish mother. He was best known for his witty conversations, his generosity and his joke-loving nature.
Not only was he a genius at making poetry, but he also possessed a photographic memory. He could memorize poems, both old and contemporary, as well as a great deal of other writings.
Ibrahim was a lawyer and later a lieutenant in the Egyptian army, from which he retired in 1901. During the next 10 years he wrote his well-known odes denouncing imperialism and wrote his nationalistic poems. He became director of literature (1911-31) in the national library at Cairo. Hafiz's true talent may have been in prose, as can be seen from his unfinished work Al-Bu'asa' (1903; "The Miserable Ones").
Just as all poets have their way of conveying their thoughts and ideas so did Ibrahim. While his poetry lacked imagery, it had its own way of word-turning and polish. Ibrahim was also one the best verse reciters of his age. His eloquence was at its best when he gave his pledge to Ahmad Shawqi as Prince of Poetry and also in his ode commemorating Mustafa Kamel's death.
Salah Abdel Sabour
Although this trend remained modernist all through, it will maintained an intimate attitude towards national heritage original Arabic taste. Abdel Sabour himself was a follower of the free art which viewed art as an expression of unbridled imaginativeness, true, vehement emotions, within a highly romantic context. He believed that genuine poetry could be written only through absolute self-communion. He remained faithful to his own principles all through his life until his death on August 14, 1981. Born in May 1931, Salah Abdel-Sabour obtained B.A (Arabic Language), at Cairo University in 1951, as secondary school student, he showed a noticeable interest in languages, literature and politics. He also took part in popular demonstration against British occupation, and in 1949 he was arrested at the age of 18. Abdel-Sabour showed an interest in literature in his early life, tended to poetry from his father, who had attempted during his youth to write poetry, and later taught his son rhetoric. Abdel-Sabour started writing verses at the age of 13. In his early youth, he tried to find for literature a new significance beyond rhetoric eloquent expression, attending to approach other realms of arts such as music and painting. He was so happy when he found himself face to face with such great men of letters as Taha Hussein, Ahmed Amin, Ibrahim Nagui, he was a teacher While in the teaching profession, he co-edited "Al Thaqafa" (Culture) magazine, until January 1953, where he wrote several poems and short stories. In 1954, he had his poem" Melancholy" published in Al-Arab (Letters) magazine. In 1957, his first collection of poems "People in My Country" was published, shooting the poet into fame, so far than any other poet in the Arab world. In 1981, his second collection "I am saying to you", and his third "Dreams of an Ancient Knight" in 1964. According to most of his critics, including those in disagreement with him, these poems reached highest peaks never achieved by modern poetry. Abdel-Sabour literature was not confined to poetry, but rather extended to poetic drama. Within a period of ten years, he published five poetic plays. The first was "The Tragedy of Al-Hallaj (1965), based on which he was granted the State Incentive Award for Theater in 1966. His poetic style had the advantage of blending spontaneity with craftsmanship. One of his major concerns was the question of modernization and revival, which Arab civilization has been going through since the mid-15th century. He believed that new life could never be built only by reviving the hole mass of ancient heritage but rather by discussing those parts in compatible with the modern time and exploring and rejuvenating those aortas instrumental to the enlightenment of the nation. He, therefore, maintained that, while keeping in contact with other civilizations, we should keep loyal to national identity and heritage. He interpreted the talent melancholy in his poetry as some sort of his sense of responsibility; a positive rather than a negative. In his own words, "I am not possessed with melancholy; I do rather possess it as a stimulant to achieve self-rejuvenating and higher and more conscious prospects beyond the ego". Salah abdel Sabour rejected the concepts of intellectual unity among poets; he was rather in favor of variance within harmony, where each poet had his own distinct character and his own intellectual starting point. Abdel Sabour’s poetic dictum have several sources, some of which were derived from sophism, the Holy Qur’an, the Bible as well as philosophical, historical or folkloric origins. Salah Abdel Sabour passed through a number stages along his poetic career. The most significant transformation, following his early beginning took place when he moved from the expression of common issues of his notion to that of his private worries, concerns and deep chagrins . While in the former his expression was characterized with firmness, optimism and faith in life in the latter he was depressed and pessimistic. In addition to poetry and poetic drama, the great poet also practiced critical writing. In literary studies, he issued 14 books, wherein he reviewed Arabic and international, old and modern literary heritage, including various literary genres. He also tackled many intellectual and art issues in a broad human context. He paid special attention to contemporary Egyptian thought. He also contributed critical essays to Rose El Youssef and Sabah El Kheir Magazines and Al Ahram daily. Abdel Sabour’s intellectual and literary career can be divided into 3 phases: Phase I starting in 1991, was characterized by his infatuation with Marxism. Within 10 years his admiration of Marxism had abated, as he failed to achieve any satisfaction or peace with the theory. He then turned to existentialism, to which he remained committed to a philosophical up to around 1971. His play "Night Traveller" expressed the failure of his attachment to existentialism to satisfy his spiritual needs as a poet. The later phase of his life were marked with deep-rooted faith in good, right and justice. After a deep and protracted concern with man alone, he thought it was then time to turn to God with firm rational faith. "Now I am in peace with God", he said ,"I do believe that every addition to humanity is a step forward to perfection; to God proper." His collection of poetry included : People in my country - I speak unto you Poetic drama - The Princess is waiting In addition to : 10 books of literary studies and 200 press articles in literary criticism and literary study. |
Salah Abdel-Sabour is indeed a pioneer of the modern Arabic poetry. Together with Badr Shaker Assayab in Iraq, Al Mala’ika in Palestine, Abdel Mo’ti Hegazy in Egypt other else where in the Arab world, they laid the foundation of a new school of Arabic poetry. They formulated their own experience in new authentic, creative patterns. Aziz Abaza
Known as one of the most outstanding poet in modern Egyptian and Arabic literature, Aziz Abaza was also a pioneer of dramatic poetry. In most of his poetry he was preoccupied with the concept of Pan-Arabism and Arab unity. Highly nostalgic of past Arab glories, his poetry was a source of inspiration of the advocates of Arab survival.
Career
Born on August 13, 1898, at a country village in Al- Sharqiya Governorate, he joined the School of Law, where he graduated in 1923.
Successively he works as a lawyer, member of the General Prosecution, Member of Parliament, Director of Identification Department, Ministry of Interior (1923) and Deputy-Governor of Al-Behaira (1935).
In 1939,he functioned as Governor of Al-Qalyoubiya and Al-Fayoum and Governor of the Canal Zone Region.
• Member of the Senate (1947)
• Member of the Arabic Language Academy, the Supreme Council for the Welfare of Arts, Letters and Social Sciences, and correspondent member of the Iraqi Science Academy.
• He was granted State Award of Appreciation (1965)
Works
• Annat Ha’ierah (Bewildered Moans): a collection of elegies in memorial of his deceased wife.
• Qeis and Lubana, a poetical drama
• Al- Abbasah
• Al- Nasser
• Shagarat Al Dor, a poetical drama
• Ghoroub al Andalus ( The Decline of Andalussia), a poetical drama.
• Shahraya, a poetical drama
• Awaraqul Khareef (Leaves of Autumn), a poetical drama
• Qafilatun -Nur (Convoy of Light), a poetical drama
• Caesar, a poetical drama
His Dramatic Poetry
Although poetic drama was a new genre to Arabic Literature, Abaza proved an extraordinary ability at satisfying the essential dramatic prerequisites, in terms of rendering, action and characterization, while mentioning a high level of poetic language. He insisted on the use of Classical Arabic in order to enable all Arabs with their varying dialects to enjoy his plays.
Salah Jaheen
Founder of the Modern Egyptian School of Cartoon
The all-round Salah Jaheen set standards that are unlikely to be surpassed in the literary and artistic circles. Jaheen shone at all the posts to which he was appointed. He was the first cartoonist offered the editorship of a weekly magazine in Egypt. The national awakening that accompanied the 1952 Revolution was best illustrated throughout his poetry, musicals and cartoons.
The creative colloquial poetry he composed is considered as the 1952 Revolution’s historical record - hence the title "Poet of the Revolution".
Mohammed Salah el-Din Helmi Bahgat, known as Salah Jaheen, was born on 25 December 1930 in Cairo. His father was a judge and the family had to move from one governorate to another. This, however, helped shape his patriotic fervour which was manifested in his attitude towards the Revolution. He graduated from Cairo University with a degree in law.
Jaheen & Cartoon
Jaheen’s career in journalism started in the early 50’s. In 1955, he worked as an amateur cartoonist in Rose El-Youssef. One year later, when the first issue of Sabah el-Khair saw the light of day, he turned professional. There, he had the opportunity to shine to such an extent that he was appointed Editor-in-Chief. In 1957, Jaheen visited the former Soviet Union, then, wrote a book entitled "A Flower in Moscow" about his impression of the journey. In 1964, Jaheen moved to "Al-Ahram".
At the age of 13, Jaheen’s immense talent for drawing first appeared. When he was a student in Assuit preparatory school, the art teacher asked his student to draw a picture of a storm in a forest. Jaheen’s picture gained the teacher’s admiration and drew his attention to the remarkable talent the little boy possessed. The teacher’s words were a great encouragement to him. His father who was an art-lover always encouraged him to develop his talent. Jaheen’s cartoons did serve to highlight vital issues in Egypt and the Arab World as well. He is the founder of the modern Egyptian cartoon school. The brilliant success of Jaheen’s cartoons arose out of the fact that he done them in the best interest of the people. Among Jaheen’s remarkably innumerable cartoon series were Hashish Addicts, Vigor Coffee-house and the Government Departments.
Jaheen & Colloquial Poetry
Jaheen’s colloquial poetry bore many interesting features of the cartoons he did. It is mainly characterized by the creative use of lexical items, startlingly intense images and well-planned compact structures. It becomes very dear to every heart once read or listened to. Jaheen, thus, set the trend for others to follow.
His quatrains written in 1963 mark the emergence of situation poetry as a genre of modern folk literature. They successfully manifest Jaheen’s philosophical viewpoint of life, death, existence, man and the eternal struggle between good and evil. Each of Jaheen’s quatrains ends ironically with "Wonders will Never Cease!".
Jaheen & Songwriting
Jaheen introduced a wide range of vocabulary that was only used in political articles to songwriting. Among the songs that helped create the revolutionary awareness and stir the patriotic fervour were: "We’re the People", Jaheen’s first song written in 1956, "Oh Weapon, Be Ready", "Rebels", "Oh Freedom, Here’s Nasser", "Welcome Battles" and "Paradise is my Country" .
The simplicity and spontaneity of Jaheen’s songs which evoke echoes of that cherished epoch in Egypt’s modern history make them remembered for ever. The last song he wrote was" Those are the Egyptians".
Jaheen, Visual Arts
In the film industry, Jaheen was a producer, scriptwriter and actor as well. In December 1969, Jaheen produced five television musicals, all based on popular folk tales, such as "The Zoo" and "Hashim and Rawhiya". He also wrote the "Ramadan Riddles" for television for several successive years.
As an actor, Jaheen played a variety of roles in "No Time for Love", "The Thief and the Dogs", "The Martyr of Divine Love", "The Mamelukes", to name but a few.
He wrote the scripts of the television drama serial "He and She" and of many cinema films - "The Return of the Lost Son", "Be careful, she is Zozo", "Amira My Sweetheart" and "Shafiqa and Metwalli", giving only these as examples.
Jaheen also wrote for the puppet theatre. His first production "Hassan the Shrewd" written in 1958 was followed by "A Feddan of Freedom" and "The Devil’s Mill". As nothing succeeds like success, Jaheen, then, wrote his remarkably distinguished masterpiece "The Big Night" operetta.
He created most of the children’s television puppet serials favorite characters such as "Shehab el-Din’s Donkey" "Nono the Elephant" and "The Chatterbox". It is no wonder that, in September 1962, the Ministry of Culture assigned Jaheen the task of setting up a committee on children’s culture.
Awards
In December 1965 Salah Jaheen was awarded Order of Science and Arts First Class.
Gazebia Sirry
Gazebia Sirry was born in 1925. Following her graduation from the faculty of art education, she quickly became an artist to be reckoned with. Art critics have attributed this to her passion for life and art. She has to feel strongly to be able to paint. She is either moved by a deep emotion, a scene, or an idea, but (which ever) one it is, the feeling is the catalyst for her painting.
In his introduction to the book Gazebia Sirry Lust for Color, Mursi Saad Eddin writes: "I first met her in London in 1954, a youthful, petite, enthusiastic Egyptian, with a challenging look and absolutely oozing with energy. Gazebia was there to participate in a collective exhibition by the London Group, held at the prestigious New Burlington Galleries," Saad Eddin continues, "I had the pleasure of visiting the exhibition, and immediately realized that I was facing a budding genius, an artist with a message. She was not just another dabbler with ambitions. It was evident that she had something special to say."
For the past forty or fifty years, the original and rebellious painting of Gazebia Sirry has enhanced the Egyptian and international art scene. It was fitting that a beautiful big book should be devoted to her by (AUC) Press: a work which was presented to the public the day after her last exhibition at the Centre of Arts at the Akhenaton Gallery closed. From her first portraits of women, suave, static, to her great impulsive and agitated compositions, the book allows us to contemplate her passage from youth to maturity.
Her inventiveness appeared very early. The young artist participated in the Egyptian Art Group founded in 1952 at the same time as the Group of Contemporary Art which, with Gazzar and Nada, revolutionised art in Egypt by its recourse to the symbolic and to popular reality. A humanist painter, Gazebia Sirry tried to portray the life of the people and denounce inequality, in the footsteps of Uwais and Efflatoun, to achieve an uncompromising art, the reflection of her quest for the unattainable.
The People’s Art
Even in her very first paintings in the early 1950s depicting the Egyptian people, especially women, with highly figurative figures, her exploding talent comes through, yearning to shock and to break the rules. Her figures then were flat, two-dimensional. This gave her paintings an almost ancient quality, as if they were temple drawings, or folkloric appliqués. Was she trying, while still so young, to draw attention to the fact that both the ancient artist and the folkloric one were able to achieve much more than many a modern artist?
As an artist Gazebia felt she had a social role and thus made the human condition her principal subject. At a time when hopes were raised by the Revolution and the social struggle, witness to major political events such as the nationalisation of the Suez Canal and the flooding of the Nubian lands, Gazebia made herself the spokes-person of the deprived, above all women.
Political Stirrings
Gradually, Gazebia found herself needing less and less brushstrokes to convey her passionate, highly expressionist messages. Gazebia’s career is packed with successful experiments in many techniques and styles, and with messages of hope. Her bleakest and strongest work, though, came following the 1967 defeat. Few can forget Gazebia’s tiny, disintegrated houses, conveying the loss and loneliness of defeat.
Strength and Love
Things have changed, though. Today, the houses have been replaced by people. Groups of people bound by love populate her works. You feel that these people are standing together, taking a unified stand against something.
Sometimes, you feel that they are simply socializing. They are a happy bunch, and populate her canvases that seem to have grown larger in size. As the amount of passion and love inside her grows, Gazebia now needs a lot of canvas space to work. One can only imagine the freedom this gives her, allowing her the opportunity to give full rein to her feelings as she paints with long, strong brushstrokes.
Her colors have never been stronger or brighter. In this current exhibition entitled Time and People, her subjects appear to be moving from one place to the other. According to Gazebia, they are moving in time.
Again, she is trying to portray the universality of time and space. But the passion Saad Eddin detected in her back in 1953 seems to have quadrupled. Looking at her new works, you cannot help but be carried away with a surge of happiness and hope.
The works of her first period: In the Kitchen (1951), Swing (1956) sensitively depict women at work and children at play. In a figurative but very expressive style and with the use of lively colours, Gazebia shows her pre-occupation poverty and injustice, going so far as to confront current events in Nubian Dreams (1962) or Racial Discrimination (1963). These simple, linear, immediately perceptible compositions, were to become more complex, more expressive, indeed more ambigu-ous.
Towards the end of the 60s, Gazebia broke out of the narrow bounds of figurative realism. In order to get away from it, she turned her attention to urban subjects, but still the people get mixed up with the houses: it is a metamorphosis; the houses are like faces marked by time.
' In her series of blocks of flats: Disintegrated Houses (1967), Metamorphosis (1968), an overlapping of geometric forms helps her to broaden her scopewider than her immediate subject matter .Her more modern aesthetic research still mirrors the life of the people, the promiscuity in soulless tower blocks. Gazebia's favourite themes are always intimately humanist while her style develops and her touch is liberated . Progressively , Gazebia draws away from perceptible reality to devote herself to ideal subjects where her freedom of expression explodes. Always a lover of rich colours - yellow, red, blue, shades of pink in Desert Compositions (1975) - she seeks to capture the imperceptible in Peace (1978) or Love (1997), without abandoning the reality of her people and her city, People of Cairo (1983). Still profoundly attached to the human figure and to expressionism, she never ceases to buttress her work by her talents as a portrait-ist: Mon Man (1974) or her numerous self- portraits.
She abandons traditional colour harmonies for clashing blues and oranges, greens and pinks, which are more in tune with her sensibility. In The Stranger (1984) she does not hesitate to use black to anchor her forms in a reality which she had let slip for some time.
Gazebia's touch becomes more and more nervous and passionate, she plays with the thickness of the material or sometimes outlines a token subject.. the painting takes a shape released from all contours in Fille-Fleur (1984). Often her canvas, scarcely skimmed with colour, or left completely blank, is like a hiatus inviting meditation, A Lake in the Desert and the Sea (1985), while in others the space is filled with ardor. High Seas (1986) and Storms (1988) are no more than the reflection of an impression.
With Human Compositions from the 90s, the body melts and fuses: the corporeal escapes. These last canvases, which we had the opportunity to view recently at the Akhenaton Gallery, are the crowning glory of this research into the impalpable. The subject exists for itself alone, bodies fade away and meld into each other. For several years Gazebia has laid claim to "a shorthand language" in which well-defined patches of colour act as a background for sketchy unfinished scenes. In Interior Migrations (1997) there would be nothing but spirit if Gazebia had not taken the trouble to indicate the weight of the body by cursive lines like cryptic signals.
But Gazebia's true self shines through this spiritual quest, restoring honour to the life of the people in the beauty of her classically peaceful aquarelles: a Cafe in Tunisia (1985), A Peasant Family from Luxor (1996) This balance between an art perfectly mastered and a thirst for liberation from all constraints, this play of emptiness and plenitude, of depth and surface, of line and colour appears to be a quest for the human essence beyond the formal. The lines of the horizon vanish, bodies are kindled into flame and unite in grave communion.
Salah Taher
Colourful Tunes, but listen with the eye
In pensive mood he talked: "I paint exactly as some would breathe, walk or sleep; just let myself do it, but certainly some contemplation before that would do.
He is a player on strings of colours, magnificent creator in Modern Egyptian fine arts world; that is the Egyptian artist Salah Taher.
A1 Akad - prominent Egyptian author - described him as the fruit of art, softness of touch, bravery of colours genius of soul, specifity of Eldin Taher was born in the eastern district of A1Abassia in center of Cairo.
He was brought up in a house fond of literary heritage. His father was one of the greatest businessmen, but crazy about old Arabic literature.
Due to his care, Salah, the youngest son, had learned so many of the old Arabic poems. He was given one piaster in return for learning one poem.
Moreover, his elder brother Mohamed Diaa Eldin helped the process, by narrating to him the biography of notable artists as Rafael, Michael-Anglo and De Vincci, also he showed him the paintings of them all. Besides, he bought him pens, colours and paper and encouraged him to paint natural scenes while he was still an eight-year old.
Taher was greatly attached to art and he remembers when he was eight years old, a friend of his father asked him ,"what do you want to be?", he replied I want to be a great painter as Rafael. His father's friend laughed.
Fine Arts High School was the next stage to get acquainted with art in Salah's life, and he graduated from that school in 1934. He got a degree in photography.
He describes academic study as a very essential stage for any artist, yet it is not capable of forming his character, he says, "as art is based on creation and this can not be made by mere study, but by a talent capable of creation."
So every artist should create his own style for people to be able to recognize his own paintings without signing on them, otherwise, "his paintings will never be a work of art".
After graduation, Taher worked in so many cities such as Alexandria and Menia, as a painting teacher (1934 - 1942).
15,000 Pictures
Being widely famous and greatly acquainted with humanitarian study, Salah created magnificent works of art that made him very distinguished among the Arab artists as he gave more than 15 thousand pictures. In the thirties, he had started his career in painting with classical academic steps; by imitating nature. Yet soon afterwards, he moved on from depicting nature to form by drawing some geometric shapes. Later on from 1962 uptill now, his abstract expressionistic style has been crystallizing.
He had chosen this kind of art because abstract art is the soul of the age and embodies the harmonious colours and expressive lines.
How do you paint? P> "Before painting, I always meditate then I create. Also yoga was very useful to me psychologically and physically as I practice it now for more than 40 years.
"After meditation, I start painting and the idea is formed, I draw so spontaneously, there is no specific rule. The artist should have the ability to imagine, his treasures of imagination must come through". Taher believes that music played a very essential role in forming his creation. He emphasized that music was the pillar of his artistic work. He says he was fond of music and played violin when he was a child. "And in every picture I try to achieve music rules. Consequently, through vision, you can feel these rules by your eyes. While painting, I used to listen to symphonies of genius composers. Also I listen to oriental music".
After graduation, he, for the first time, had sold a picture of a natural scene. It was priced 3 pounds. While- his "Crowd" was of 20,000$. He refuses to sell his pictures, right now, as he believes that he has to keep for his family his history. Also he says that he can not paint better than the already sold. He regrets selling any picture, at all, as if he had lost part of himself.
Taher says that the happiest moment in his opinion is when he enjoys watching his own and others creations. He can not stand triviality, idle gossip and he does not want to deal with a stupid person.
Taher adds that if life had met the emotional needs of man, art would not have existed. "We can assume that life and universe are the utmost happiness. Yet, man can not realize the real meaning of beauty hidden in them by his five senses".
Consequently, he can not hear, by his limited sense, the harmonious music of the Universe. So, when man felt that he was in want of something he created art to satisfy his inner self...He insisted on the fact that art can produce every thing in life. "If we elevate the senses of citizens by art, we can make new civilization.'' Taher believes that the ancient Egyptian civilization was based on three pillars: art, life and the hereafter.
Family life
Taher had married twice. The first time, he married while he was still young and such a marriage had lasted for one year and a half. Five years later, he married Mrs. Aida Tawfeek who was fond of pottery, and gave birth to their only child, Ayman. She died in 1984. His grandsons, Salah and Alaa Ayman Taher are both talented.
Grandson Salah is fond of sculpture, especially of wood, Alaa is fond of painting. In addition, their father graduated from Fine Arts Faculty and he is a camera-man in cinema and a photographer as well.
Fairs
Taher had held more than 80 art fairs in which he had exhibited his works in Egypt and in other countries, namely in such cities as: Venice, Cairo, New York, San Francisco, Geneva, Beirut, Kuwait, Jeddah. Also he had participated in 67 collective fairs in Egypt...He also won a lot of local and international prizes.
Mahmoud Mukhtar
He is considered the Pioneer of Modern Sculpture in Egypt (1891 - 1934).
Birth and education
Mahmoud Mukhtar was born on May 10, 1891 in a village called Tonbara, in the Gharbiya Governorate, central Delta. He completed his primary education in Egyptian schools. His father, Sheikh Ibrahim Al Issawi, was the mayor of his home village.
Then his family moved to another village near Al Mansoura. There he lived as a peasant boy, nurturing dreams of childhood, playing on the banks of the village irrigation canal and making mud statues.
In 1902, he moved to Cairo, where he lived in Darb El Gamameez traditional district, which combined traders, artisans of traditional handicrafts, as well as masterpieces of Cairo's Islamic architectural monuments and arts. Living in this area, Mukhtar learned much more than he did from school education. This atmosphere was vividly reflected in his works.
In 1908, the private University and School of Fine Arts were established, thanks to the encouragement of prince Youssof Kamal. Mukhtar joined this school, where his talent was cultivated.
Upon the recommendation of his French professor La Plani, Mukhtar was sent to Paris to further his study. There, his attention was drawn to the rich heritage of the ancient Pharaonic civilization.
Due to the outbreak of World War I, he underwent difficult circumstances. During this period, he was engaged as a technical manager at Griffan Museum.
Gamal al-Sigini
Born in Bab Al-Shi’ria district, Cairo in 1917, Gamal El-Sigini is a pioneer of plastic arts in general, sculpture in particular. His revolutionary sculptures have set the trend for a movement combining both psychological and artistic dimensions of a piece of work.
The social and economic environment of his childhood had left a tremendous effect on his artistic style. El-Sigini believed that the artist should truly echo voice to the people's problems and sufferings.
On the pioneering artist Youssef Emil’s recommendation, El-Sigini joined the Higher Fine Arts School in 1933. Over the period 1951-64, Gamal El-Sigini worked as professor of sculpture at the Faculty of Fine Arts, Helwan University.
El-Sigini’s works, especially those done during the 1940's and 1950's, record the development of the modern Egyptian artistic movement. El-Sigini was deeply influenced by the British sculptor Henry Moore. He was a life-long advocate of innovation and creativity.
His exquisite works include oil paintings, baked-clay statutes, monumental sculptures, hammered-copper medals, bronze busts and mural relieves - to name but a few. El-Sigini, further, employed Islamic art elements, such as minarets and domes.
In appreciation of El-Sigini’s distinguished career, the 1974 report of the United Nations Educational, Scientific and cultural Organization (UNESCO) entitled "Contemporary Art Techniques in Egypt" includes a whole section on his life and artistic production.
Awards:
• 1956 Artistic Production Award.
• 1957 Gold medal, International Exhibition, Moscow.
• 1958 First Prize, Arts Protection Council.
• 1958 Gold Medal, Brussels International Exhibition.
• 1964 Concave Art Award.
Inji Eflatoun
Inji Eflatoun pursued free studies in art. Since 1942, she participated in the exhibitions of the avant-garde, "Art and Freedom Group". This was the first society that attempted to free modern Egyptian art from the bonds of the academism and formalism then prevailing.
In March 1952, she had her first one-person exhibition in Cairo and from that time, she held 28 solo shows in Egypt and abroad. She has exhibited in Rome in 1967, at the "Paese Nove" gallery; in Paris at the " Galerie de l’Universite’ "; in Dresden, East Germany; Warsaw, Poland; Moscow and Prague. She held a one-person show in 1979, in New Delhi, India; in 1981 at the Egyptian Academy in Rome; and in 1988 in Kuwait. She has also participated in group exhibitions such as the Biennale of Sao Paolo in 1953; the Biennale of Venice 1968; and the Contemporary Egyptian Art exhibition in Paris in 1971.
In 1975, Mrs. Eflatoun helped organize the “Ten Egyptian Women Artists in Half a Century” exhibition, held in Cairo on the occasion of the international Year for Women and in which she took part. In 1976, she was in charge of Egyptian Pavilion at the 87th "Salon des Independants" in paris in the Grand Palais.
The artist’s works were acquired by the modern art Museums in Cairo, in Alexandria and in Dresden, the National Museum in Warsaw and by the Oriental Museum in Sophia, the Pushkin Museum in Moscow, the Italian Deputies Council and by private collectors in Egypt and abroad.
Cavalier of Arts & Literature
In 1986, she was awarded by the French Ministry of Culture a medal of merit called ”Cavalier of the Arts and Literature”.
Inji Eflatoun who died in 1989, once wrote:
" To me, Art is expressing one’s self and the anxieties of one’s society. In my early youthful period, I adopted a surrealistic style which helped me overcome obstructions within myself, or my capacity to unload the anxiety and rebellion I carried within.
"In 1946, the Surrealist phase ended when I got fully involved in political and social work. I felt I needed to face myself again after this change in my thoughts and feelings. I had to find a new way of artistic expression to suit this transformation. I started to search for the personality of the Egyptian and the special character of the natural environment that surrounds him. This happened at the same time of my search for my roots and my identity. I went deep into a country-side, sharing their lives, roaming in the villages and the hamlets, besides reaching to the deserts, trying to express the realities and dreams of sub dued, ordinary human beings who labor silently and patiently. I tried to praise “work” through groups of peasant women gathering the crops, capturing the quick movement of their bodies and hands, and at this moment of human "oneness", working together, happily gathering the crops.
"I then pursued my search regarding two important elements in the composition of painting: movement and light. After long years of painting I have reached what I have called “the white light”. At the beginning, I instinctively left between the strokes of colour, made by the consecutive brush and more until I dared, in the end, to leave fully white uncoloured spaces on the canvas. White spaces came to play a very positive part in spreading light over the painted forms, thus enhancing the touch and colour of a well-studied brushstroke".
Sabri Raghib
At the age of five, Sabri Raghib’s talent for drawing first manifested itself. "The walls of the house were covered with random scratches, lines, curves and circles. My family had to re-paint the walls over and over in quick succession, a matter that caused troubles. One of my relatives who was working as an art teacher in Shubra secondary school had the solution. He bought me sheets of white papers and watercolors. He stuck the papers over the wall and that was the real beginning," Raghib said.
Sabri Raghib, known as master of portraits and flowers, was born on December 3,1920. "While a child, I had the chance of meeting a foreign artist named Paul. He came with my uncle and stayed in the basement. He was a magnificent, yet eccentric, artist. During the first half of every month, he was deeply involved with his portraits and during the second with wine! I was greatly astonished to see him making portraits," he added.
Sabri Raghib was also deeply affected by a calligraphist and painter named Mansour who drew pictures of Jesus Christ, Mary the Virgin and the journey of the Holy Family to Egypt. A Turkish portraitist who made a portrait of Raghib had a tremendous impact on Raghib’s career.
In 1937, Sabri joined the Faculty of Fine Arts against the will of his mother who wanted him to be a doctor. His father on the contrary has always supported him. "As a child I have always enjoyed freedom. I have rebelled against school discipline. In my first year at university, I did not attend lectures regularly. That’s why Professor Ahmad Sabri who felt I am talented advised me to travel to Italy and join the Rome-based Art Academy. My father was very considerate. For a time, he sent me ten pounds every month but suddenly he stopped on the claim that I am a failure," Raghib expounded.
In 1951, Raghib came back. He was again enrolled in the Faculty of Fine Arts. He graduated in 1952. For a time, he worked as an art teacher, a period he described as "one of the most flourishing in my artistic and educational career".
"When portraying, I have a face-to face relationship with human feelings. Portraits of persons have the depth of human interaction. Those of flowers are similar in that every flower turns into a human. For example, violet represents sadness," Raghib said. According to Raghib, a portraitist must have insight. "I cannot live without love. I am always in love with people, animals, roses and cats. It is easier to fathom the depths of women than men," he added.
Raghib’s fastest portrait is that of Tawfiq al-Hakim. It was done in 25 minutes. He described al-Hakim as open-minded. In Raghib’s viewpoint, al-Hakim’s literary characters bear resemblance to him.
Among the other personalities Raghib portrayed are Dr. Zaki Naguib Mahoud, novelist Yossef Idris, thinker Ahmed Bahaa al-Din, Hassan Fouad Nabil, a man of noble birth and novelist Ihsan Abd al-Qudus.
Elegance, stability and charm characterize Sabri Raghib’s style. He is an impressionist in that the effects are produced by light and colour rather than by details of form.
Mahmoud Said
Born in Alexandria in April 8, 1897 to a wealthy family, Mahmoud said obtained his high school degree in 1915 . At the time, he was already famous among his colleagues as a talented painter. He studied under the artist Zanieri at his studio in Alexandria between 1915 and 1918.
In 1919, Mahmoud Said received his bachelor in law. He went to Paris for post-graduate studies in law and spent three years there during which he also joined free studies department at the Grand Chombere Academy. He visited many European museums, Van Gogh’s Atelier and the Paris-based Julian Academy.
In 1947, Said decided to retire and dedicated himself to artistic creativity. He was the first Egyptian artist awarded the State Prize for Arts. Said died in his 67 birthday in 1964, at the family’s villa in Alexandria.
After his death, the villa was turned into a museum housing the artist’s creations.
Constructional formation:
The constructional formation of the paintings of Mahmoud Said was influenced to a great extent by the ancient Egyptian art of painting and the classic works of Renaissance art. His study of law made his thoughts disciplined. The characteristics of the geometrical formation of Said’s paintings are as follows:
1 . Pyramidal construction where the lines extending from bottom to top cross.
2 . Fan-shaped construction where the lines interweave to form a tissue.
3 . Circular construction where the elements and patterns of the painting form a circle.
4 . Golden rectangle construction where the surface of the painting is divided by 3 to 1
Mohamed Nagi
(1888-1956)
"My wish and duty is to revive the artistic appreciation that helped shape the mentality and awareness of the Egyptian people and to awaken the people after the ages of decline they lived."
In the depths of Nagi’s character, the art of painting surged up like waves that rose and fell on the shore, sometimes with great violence and sometimes calmly and smoothly. Along the shores of sound logic, philosophy and patriotism Nagi walked until finally he founded Egypt’s modern painting school.
Born in 17 January, 1888, Nagi studied music and painting at an early age. He was good at playing violin and lute. His poetic and literary talents bloomed when he began reading Egyptian folk tales. His talents found expression in the words he wrote, the paintings his brush drew and the chords he touched.
Nagi studied law in Lyon, France, over the period 1906-10. He is the first Egyptian artist to study arts in the Academy of Fine Arts in Florence, Italy, as of 1910 till 1914. There he had the opportunity of studying under the pioneer of the European Impressionist school Claude Monet (1840-1926).
The nationalist movement at the beginning of the 20th century motivated Nagi to work hard and his enthusiasm found expression in the exquisite paintings he made during that period.
Nagi’s paintings served political, cultural purposes and helped spread awareness and disseminate knowledge.
Nagi’s ‘Egypt Renaissance’, for which he was awarded the golden prize from Salon du Paris, and the five murals ‘Ancient Egyptian medicine, Arab medicine, Folk medicine and Inauguration of Mohamed Ali, show a perfect balance between world modern artistic trends and the Egyptian identity.
Nagi launched and pursued vigorous campaigns for saving the Egyptian monuments threatened with inundation such as the temples of Philae in 1947 and Abu Simbel in 1957. He wrote articles in world newspapers and magazines and gave several lectures in Egypt and abroad to win more support.
Nagi was keen on establishing continuously direct close ties with different world cultures. Such a relation started during his stay in Europe.
Nagi is the founder of Alexandria Atelier for Artists and Writers in 1935, Cairo Atelier in 1952, Arts Club in 1941 and Artists Studio in Al-Qurana village at Luxor in 1941.
He is the first Egyptian to hold the position of principal of the Cairo-based Higher School of Fine Arts. Nagi was also appointed director of the Cairo-based Modern Art Museum over the period 1939-47 and the Rome-based Egyptian Arts Academy as of 1947 till 1950.
After his death, Nagi’s atelier was turned into a museum housing all his masterpieces.
The aim of art is to create sublimity and eternity: hence its existence. Art has to express the sacredness of life, being the best way to arrive at the essence of reality."
Nagi set a fashion for his contemporaries and following generations. His artistic technique is, however, unique. It is characterized by depth and immortality.
Nagi’s technique has the following stages of development:
• Drawing free sketches (10X15 cm).
• Selecting a collection of sketches for a specific theme and making a painting, half the size of the final one, in pastel.
Making a more detailed painting of the same size in water-colours.
•Making the final oil painting on cloth. There may be more than one version of the final painting for some artistic reasons.
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