Magazine Aziz Art March

Remedios Varo

sam

peacock

Maktab (Style)Tabriz

AzIz Anzabi

Reza Abbasi

March 2015

Nima Yooshij

MAR

Social

Martin J Leighton

Director: Aziz Anzabi Editor and translator : Asra YaghoubiResearch: Zohreh Nazari

Contents1. Directors speech-Nim Yushij2. Remedios Varo5. Mars social8. Sam Peacock 9. Reza Abbasi15. Competition16. Martin J Leighton17. Competition18.Aziz Anzabi19.Constantin Brncui23. Tabriz style

http://www.aziz-anzabi.com

In The Cold Winter NightIn the cold winter night The furnace of the sun too Burns not like the hot hearth of my lamp, And no lamp is luminous as mine

Nim YushijPersian: November 12, 1895 January 6, 1960 also called Nim , born Ali Esfandiri was a contemporary Tabarian and Persian poet who started the sher-e now( ," new poetry") also known as sher-e nimaa'i( ," Nimaic poetry") trend in Iran. He is considered as the father of modern Persian poetry.He died of pneumonia in Shemiran, in the northern part of Tehran and was buried in his native village of Yush, NurCounty, Mazandaran, as he had willed.

The white dress of Winter is closed.The young and vibrant Spring replaces the Winter.Spring travels so fast in your house that you don't even realise,when your thoughts are frozen and trapped by the Winters claws.The happiness of the season flows through the veins of life.The trees have woken up ,The blossoms are greeting you,Your Spring be victorious and blissfulAziz Anzabi

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Remedios Varo Uranga (December 16, 1908 October 8, 1963) was a Spanish-Mexican para-surrealist painter andanarchist.She was born Mara de los Remedios Alicia Rodrigo Varo y Uranga in Angls, a small town in the province of Girona, Spain in 1908.[1] Her birth helped her mother get over the death of another daughter, which is the reason behind the name. In 1924 she studied at the Real Academia de Bellas Artes de San Fernando, Madrid. During the Spanish Civil War she fled to Paris where she was greatly influenced by the surrealist movement. She met her second husband (after her death it was discovered that she had never divorced her first husband, painter Gerardo Lizarraga), the French surrealist poet Benjamin Pret, in Barcelona. There she was a member of the art group Logicophobiste.Due to her Republican ties, her 1937

move to Paris with Pretensured that she would never be able to return to Franco's Spain. She was forced into exile from Paris during the German occupation of France and moved to Mexico City at the end of 1941. She died at the height of her career from a heart attack in Mexico City in 1963

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Early lifeVaros father, Rodrigo Varo y Zajalvo, was an intellectual man who had a stronginfluence on hisdaughters artistic development. Varo would copy the blueprints he brought home from his job in construction and he helped her further develop her technical drawing abilities. He encouraged independent thought and supplemented her education with science and adventure books, notably the novels of AlexandreDumas, Jules Verne, and Edgar Allan Poe. As she grew older he provided her with text on mysticism and philosophy. Varos mother, Ignacia Uranga Bergareche, was born to Basque parents in Argentina. She was a devout Catholic and commended herself to the patron saint of Angls, the Virgin of Los Remedios,

promising to name her first

daughter after the saint.Her father was a hydraulic engineer and the family traveled the Iberian Peninsula and into North Africa. To keep Remediosbusy during these long trips, her father had her copy the technical drawings of his work with their straight lines, radii and perspectives, which she reproduced faithfully. As a child she read much with favorite authors including Jules Verne, Edgar Allan Poe and Alexandre Dumas. She also read books about oriental philosophy and mysticism. Those first few years of her life left an impression on her that would later show up in motifs like machinery, furnishing, artifacts, and Romanesque and Gothic architecture unique to Angls.

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Varo was given the basic education deemed proper for young ladies of a good upbringing at a convent school - an experience that fostered her rebellious tendencies. Varo took a critical view of religion and rejected the religious ideology of her childhood education and instead clung to the liberal and universalist ideas that her father instilled in her.Formative yearsThe very first works of Varo's, a self-portrait and several portraits of family members, date to 1923 when she was studying for a baccalaureate at the School of Arts and Crafts. In 1924 (age 15) she enrolled in the San Fernando Fine Arts Academy in Madrid, the alma mater of Salvador Dal and other renowned artists. Varo got her diploma as a drawing teacher in 1930.[ At school, surrealistic elements were already apparent in her work, as it had

arrived to Spain from France and she took an early interest in it. While in Madrid, Varo had her initial introduction to Surrealism through lectures, exhibitions, films and theater. She was a regular visitor to the Prado Museum and took particular interest in the paintings of Hieronymus Bosch, most notably The Garden of Earthly Delights.

In 1930 she married a young painter named Gerardo Lizrraga. The couple left Spain for Paris, both to escape the rising political tensions as well as to be nearer to where much of Europes art scene was.

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AboutMARSocial.com is a dynamic social media network and a premiere on-line magazine for writers, authors, artists, musicians, healing artists, consciousness advocates and other creative types seekingto come together in the realization of a beautiful, expressive world.Though previously MARSocial was created to stand for: M.A.R.S (Media Arts Review Social)- the new direction this site is taking since the beginning of 2015, is to broaden the focus and Mothering A Reality Shiftone Supportive of Opportunistic Community Interested in AppreciatingLife. We offer our members and readers the opportunity to participate in a comprehensive social network.OLYMPUS DIGITAL CAMERAOur members contribute commentary, poetry, excerpts from original works of fiction, and reviews of the traditional, performing and written arts. You, as a

member, may also contribute information, thoughts and insights regarding health, metaphysics, lifestyle and various healing arts such as yoga, martial arts and massage. MARSocial is unlike anything previously offered on the internet. Writers, poets, artists, musicians, singers, dancers, actors, painters, models and designers; healing artists, conscious thinkers, paradigm-shifters and creative types of every sort can participate in the manifestation of a collaborative movement that showcases emerging artistic, conscious talent and authentic expression.MARSocial is a platform designed to enhance the reach of the artist in every human on a worldwide scale and encourages members to express authenticity, honesty and truth as it beats in their own heart.

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This organization seeks to build an online, empowering social community. A place where artists and art-lovers, healers and teachers, human brothers and sisters can display and discuss the fruit of theircreative labors, subject to peer evaluation and governed by an appreciationfor the freedoms that inclusion engenders. It is a place where authenticity is welcomed and the recognition that everyone has a talent, a truth, an art to share and it is important to have a space in which to share it and see it appreciated.Thank you for coming to MARSocial. We truly hope you will find a virtual home here in one form or another. If you are interested in contributing. Please contact the Editor-in-Chief, Stasia Bliss, directly: [email protected] you ~The company is headquartered in Las Vegas, NV and is a subsidiary of CC Marketing & Advertising, LLC.

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Sam Peacock is a London based artist who work primarily with steel. He is represented by the Curious Duke Gallery in London and has solo shows in London, Europe and Australia.At present, Peacock is focusing his work on the Hydraulic Fracturing industry and creating artistic responses to this.

2011, Kerrie Lowe Gallery, Sydney (Solo Show)2012, Avantgarde Gallery, Berlin (With artist Fabian Freese)2013, Curious Duke, London (Unseen Landscape Solo Show)2014, Timberyard, London (With Roys People2015, Curious Duke, London (Fractured)2015 Vess, Copenhagen (With Roys People) 30/30cm, Copper, Plaster, Oils

on steel plate.

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Reza Abbasi

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Reza Abbasi, in Persian, usually Reza Abbasialso Aqa Reza or q Ri Kshn (c. 15651635) was the leading Persian miniaturist of the Isfahan School during the later Safavid period, spending most of his career working for Shah Abbas I.He is considered to be the last

great master of the Persian miniature, best known for his single miniatures for muraqqa or albums, especially single figures of beautiful youths.

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Life and artRiza was possibly born in Kashan, as q Ri Kshn is one of the versions of his name; it has also been suggested that he was born in Mashhad, where his father, the miniature artist Ali Asghar, is recorded as having worked in the atelier of the governor, Prince Ibrahim Mirza. After Ibrahim's murder, Ali Asghar joined Shah Ismail II's workshop in the capital Qazvin.Riza probably received his training from his father and joined the workshop of Shah Abbas I at a young age. By this date, the number of royal commissions for illustrated books had diminished, and had been replaced by album miniatures in terms of employment given to the artists of the royal workshop.

Unlike most earlier Persian artists, he typically signed his work, often giving dates and other details as well, though there are many pieces with

signatures that scholars now reject. He may have worked on the ambitious, but incomplete Shahnameh, now in the Chester Beatty Library in Dublin. A much later copy of the work, from 1628, at the end of Abbas' reign and rendered in a very different style, may also be his. It is now in the British Library (MS Additional 27258). His first dated drawing is from 1601, in the Topkapi Palace. A book miniature of 1601-2 in the National Library of Russia has been attributed to him; the only other miniature in the book is probably by his father. He is generally attributed with the 19 miniatures in a Khusraw and Shirin of 1631-32, although their quality has been criticised.

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His speciality, however, was the single miniature for the albums or muraqqas of private collectors, typically showing one or two figures with a lightly drawn garden background, sometimes in gold, in the style formerly used for border paintings, with individual plants dotted about on a plain background. These vary between pure pen drawings and fully painted subjects with colour throughout, with several intermediate varieties. The most typical have at least some colour in the figures, though not in the background; later works tend to have less colour. His, or his buyers', favourite subjects were idealized figures of stylishly dressed and beautiful young men. According to Barbara Brend:

The line of Riza's ink drawings has an absolute mastery conveying texture, form, movement and even personality. His coloured figures, which must often be portraits, are more

restrained, and lay more emphasis on the fashions of the day, the rich textiles, the carelessly draped turban, the European hat. Effete figures are often presented standing in a curved posture which accentuates their well-fed waists.

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The style he pioneered remained influential on subsequent generations of Persian painters; several pupils were prominent artists, including Mu'in, who painted his portrait many decades later (illustrated at top) as well as Riza's son, Muhammed ShafiAbbasi.His earlier works were signed Aqa Risa (or Riza, Reza etc., depending on thetransliteration used), which, confusingly, is also the name of a contemporary Persian artist who worked for the MughalEmperor Jahangir in India. In 1603, at the age of about 38,the artist in Persia received the honorific title of Abbasifrom his patron, the shah, associating him with his name. In the early 20th century, there was much scholarly

debate, mostly in German, as to whether the later Aqa Risa and Riza Abbasi were the same figure. It is now accepted that they were, although his style shows a considerable shift in mid-career.Riza Abbasi, the painter, is also not to be confused with his contemporary Ali Riza Abbasi, Shah Abbas' favourite calligrapher, who in 1598, was appointed to the important position of royal librarian, and therefore in charge of the royal atelier of painters and calligraphers. Both Rizas accompanied the shah on his campaign to Khurasan in 1598 and followed him to the new capital he established in Isfahan from 1597-98. Soon after, Riza Abbasi left the Shah's employ in a "mid-life crisis", apparently seeking greater independence and freedom to associate with Isfahan's "low-life" world, including athletes, wrestlers and other unrespectable types

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In 1610, he returned to the court, probably because he was short of money, and continued in the employ of the Shah until his death.A series of drawings copying the miniatures attributed to the great 15th-century artist Behzad, which were in the library of the shrine at Ardabil, strongly suggest that Riza had visited the city, probably as part of the Shah's party and perhaps on his visits in 1618 or 1625.

About the time of his return to court service, there is a considerable change in his style. "The primary colours and virtuoso technique of his early portraits give way in the 1620s to darker, earthier colours and a coarser, heavier line. New subjects only partly compensate for this disappointing stylistic development". He painted many older men, perhaps scholars, Sufi divines, or shepherds, as well as birds and Europeans, and in his last years sometimes satirized his subjects.

Sheila Canby's 1996 monograph accepts 128 miniatures and drawings as by Riza, or probably so, and lists as "Rejected" or "Uncertain Attributions" a further 109 that have been ascribed to him at some point Today, his works can be found in Tehran in the Reza Abbasi Museum and in the library at the Topkapi Palace in Istanbul. They can also be found in several western museums, such as the Smithsonian, where the Freer Gallery of Art has an album of works by him and pupils,[ the British Museum, Louvre and the Metropolitan Museum of Art.

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OPEN CALL FOR SOLO EXHIBITION IN NYCExhibition Dates: March 22 -April 3, 2015Entry Deadline: Thursday, March 12, 2015 @ Midnight

Dacia Gallery invites emerging and established artists to submit artwork for an opportunity to have a Solo Exhibition at Dacia Gallery. We are looking for new talented artists to exhibit and to possibly represent as well. The gallery will advertise and promote the selected artist for the exhibition and host a

formal Opening Reception for the exhibit, including an Artist Talk during the opening reception.

For more information and to register please visit our website:www.daciagallery.com

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Martin J LeightonI have been painting with oils on canvas for the past 45years and turned professional in 2003. I work from my studio by the beautiful harbour side in Weymouth and am inspired by the sea and landscape around me. However, I really enjoy painting the human form, especially women, as it's a constant challenge to capture their sensuality, mood and the atmosphere they can portray. Portraits are a speciality which can capture a moment in time of your life and be a gift to last a lifetime. My work is in private collections throughout the UK and in Australia and South Africa.

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Contemporary Art Gallery Online (CAGO)

presents:March Art Competition and Exhibition:Landscapes ThemeCall for Artists - Deadline: March 31st, 2015

"Painting something that defies the law of the land is good. Painting something that defies the law of the land and the law of gravity at the same time is ideal. Banksy, Wall and PieceContemporary Art Gallery Online announces their 3rd Annual LANDSCAPES Online Art Competition for the month of March 2015.

The gallery announces an international and national call for entries from artists regardless of where they reside to apply to this competition by submitting their best representational and non-representational art.

A call to artists is announced for the artists interpretation of the Landscapes theme. Submissions should depict the natural world, outdoor scenery, geographical environments and related landscape subjects for inclusion into this Art Competition and Exhibition.

Important MUST Knows:Art Exhibition and Competition Opens: March 1, 2015Deadline for Receiving Entries: March 31, 2015Competition Results are Posted: April 13, 2015Opening of Online Art Exhibition: April 1, 2015Award Certificates Emailed to Artists: April 28, 2015Online Art Exhibition Closes & Archived: April 30, 2015Entry Fees:$15 for 1 to 3 images and $20 for all images up to 5 The PayPal account name will appear on your credit card statement as CAGOnline.It is not necessary to have a PayPal account in order to use this service. Eligibility:

Must be original work to the artist.The artist must be willing to sell their work (print or original piece).

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The World of the Angels

By Aziz AnzabiSculpture Clay, part of the world of the angels collection.In this sculpture I tried to show that peace is like an angel and these angels can protect earth if only the humans rather have peace instead of evil.

OriginalClay28cm x 23cm x 15cm

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Constantin BrncuiFebruary 19, 1876 March 16, 1957 was a Romanian sculptor, painter and photographer who made his career in France. Considered a pioneer of modernism, one of the most influential sculptors of the 20th-century, Brncui is called the patriarch of modern sculpture. As a child he displayed an aptitude for carving wooden farm tools. Formal studies took him first to Bucharest, then to Munich, then to the cole des Beaux-Arts in Paris from 1905 to 1907. His art emphasizes clean geometrical lines that balance forms inherent in his materials with the symbolic allusions of representational art. Brncui sought inspiration in non-European cultures as a source of primitive exoticism, as did Paul Gauguin, Pablo Picasso, Andr Derain and others. But other influences emerge from Romanian folk art traceable through Byzantine and Dionysian traditions.

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Early yearsBrncui grew up in the village of Hobia, Gorj, near Trgu Jiu, close to Romania's Carpathian Mountains, an area known for its rich tradition of folk crafts, particularly woodcarving. Geometric patterns of the region are seen in his later works.

His parents Nicolae and Maria Brncui were poor peasants who earned a meager living through back-breaking labor; from the age of seven, Constantin herded the family's flock of sheep. He showed talent for carving objects out of wood, and often ran away from home to escape the bullying of his father and older brothers.

At the age of nine, Brncui left the village to work in the nearest large town. At 11 he went into the service of a grocer in Slatina; and then he became a domestic in a public house in Craiova where he remained for several years. When he was 18,

Brncui created a violin by hand with materials he found around his workplace. Impressed by Brncui's talent for carving, an industrialist entered him in the Craiova School of Arts and Crafts (coalade arte i meserii), where he pursued his love for woodworking, graduating with honors in 1898.

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Personal lifeHe then enrolled in the Bucharest School of Fine Arts, where he received academic training in sculpture. He worked hard, and quickly distinguished himself as talented. One of his earliest surviving works, under the guidance of his anatomy teacher, Dimitrie Gerota, is a masterfully rendered corch(statue of a man with skin removed to reveal the muscles underneath) which wasexhibited at the Romanian Athenaeum in 1903. Thoughjust an anatomical study, it foreshadowed the sculptor'slater efforts to reveal essence rather than merely copy outward appearance.Brncui always dressed in the simple ways the Romanian peasants did. His studio was reminiscent of the houses of the peasants from his native region: there was a big slab of rock as a table and a primitive fireplace, similar to those found in traditional houses in his native Oltenia, while the rest of the furniture was made by him out of wood.

Brncui would cook his own food, traditional Romanian dishes, with which he would treat his guests.

Brncui held a large spectrum of interests, from science to music. He was a good violinist and he would sing old Romanian folk songs, often expressing by them his feelings of homesickness. After the installment of communism, he never considered moving back to his native Romania, but he did visit it eight times.

His circle of friends included artists and intellectuals in Paris such as Amedeo Modigliani, Ezra Pound, Henri Pierre Roch, Guillaume Apollinaire, Louise Bourgeois, Pablo Picasso, Man Ray, Marcel Duchamp, Henri Rousseau, and Fernand Lger. He was an old friend of Romany Marie, who was also Romanian, and referred Isamu Noguchi to her caf in Greenwich Village.

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Although surrounded by the

Parisian avant-garde,

Brncuineverlostthecontact with Romania

and had friends from the

community of Romanian

artists and intellectuals living

in Paris, including Benjamin

Fondane, George Enescu,

Theodor Pallady, Camil

Ressu,NicolaeDrscu,Panait Istrati, Traian Vuia,

Eugne Ionesco, Emil Cioran

and Paul Celan.

Brncuiheldaparticularinterest in mythology,

especially Romanian

mythology, folk tales, and

traditional art (which also had

a strong influence on his

works), but he became

interested in African and

Mediterranean art as well.

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Tabriz style

First Tabriz style or Mogul style (ages 7 and 8 AH..) Is the first Iranian miniature painting style founded in Tabriz and because of this they call it the Tabriz style. This coincided with the patriarch of the Mughalempire (Eelkhanian)in Iran Tabriz was the capital . This style is when symbols of Chinese paintings mixed with Persian miniatures. The impact of Chinese Painting on Iranian painting is obvious.

The style can benefit from the work of Ibn BukhtishuBio (695 AH),Jameh al-tawarikh Rashidi (714 AD) and Dmvt Shahnameh (Abusaeed)

(731-737 AD) refer to the

caliography of Naskh. Most of the books were produced in the Rob Rashidi.

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Happy

Norooz