The exhibited works comprise both older pieces and recent ones, all perfect examples of two of Aghdashloo’s most acclaimed series, Memories of Destruction and Years of Fire and Snow. In Aydin's repaintings, these masters' praise are accompanied with sorrow for their own and their works' mortality. [5], Aghdashloo's interest in including surreal spaces in his works and painting floating objects began in his 30 years of age. View Aydin Aghdashloo’s artworks on artnet.
Art Today. Simonides, Untitled (From the Memories of Destruction series). To him, his aesthetic-painterly approach is best pictured in the poem by the renowned Persian poet of the 11th Century, Hakim Omar Khayyam:A vase there is that Wisdom does adoreAnd imprints on its cheeks kisses galoreBehold the Master Potter of the WorldSuch a vase He makes, then breaks it on the floor *To accentuate the destruction in a glorious yet ironic tone, Aghdashloo frames all of his paintings elaborately in renaissance style where the chief purpose of the framing was symbolic: to act as a shrine and elevate the image.The exhibition also includes a wooden head and torso sculpture the artist made over a decade ago to use as a model for his paintings of wooden heads, turned exclusively to an exhibiting piece for this show. Aydin Aghdashloo: A Selection of Paintings showcases 12 paintings and a sculpture from the artist's most compelling series in the past forty years. At one time, Persian was a common cultural language of much of the non-Arabic Islamic world. [3], Aghdashloo was the holder and coordinator of several exhibitions after the Iranian revolution. Contemporary Persian and Classical Persian are the same language, but writers since 1900 are classified as contemporary. Lucie-Smith, Edward (September 1999). Aydin Aghdashloo (Persian: آیدین آغداشلو; born 30 October 1940) is an Iranian painter, graphist, art curator, cognoscente, writer, and film critic.[1]. The report documented victims comparing Aghdashloo to Harvey Weinstein: Nineteen described him as the “Harvey Weinstein of Iran,” elevating or destroying careers of women depending on their receptiveness to his advances. [4] Aghdashloo is also a recipient of the Legion of Honour. For further information please visit www.assarartgallery.com or send email to info@assarartgallery.com.-------------* Rubaiyat Khayyam, translated by Edward FitzGerald. He is also an influential teacher to numerous contemporary artists who have learned painting at his studio since 1980. According to him, painting of such faceless dolls helped him say the subconscious suspicious and illusive word in the form of a painting.[6]. Having mastered in both Persian and European painting techniques since his youth and being fond of the whole concept of renaissance throughout his life, Aghdashloo has continually focused on his most treasured genre of art that was employed during the Safavid Persia and the Renaissance Europe, mostly by Master Reza Abbassi, the court painter of the early Safavid Dynasty, and the Italian Sandro Botticelli. [10], Barbad Golshiri, son of Iranian author, Houshang Golshiri, announced that the new edition of his father’s novel, Prince Ehtejab, would not include Aghdashloo’s painting. Aydin Aghdashloo (Persian: آیدین آغداشلو ; born 30 October 1940) is an Iranian painter, graphist, art curator, cognoscent, writer, film critic. It's Aydin's imagination and time-sighting and death-aware thought that's the final maker of his work. [4] After seeing Aydin's talent in painting at school and his hand-made models, Mohammad-Beik took him to Habib Mohammadi, a painter and a teacher from Rasht. And the cycle goes on eternally: the present moment becomes part of the past; and part of the future, in turn, becomes the new present…The recurring theme in the work of Master Aydin Aghdashloo, has also been observed from cultural, historical and existential perspectives decoding the defaced portraits and demolished objects as a pejorative metaphor for the transformation of human conditions and the Persian culture that has been ravaged and bruised throughout history. His artistic means to achieve this has always been the same: he first recreates a masterpiece from either Persian paintings and art objects or European Renaissance paintings in which he finds perfection and beauty.
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