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Fadia Haddad, Partition légendaire, Painting on canvas
Fadia Haddad, Partition légendaire, Painting on canvas
Fadia Haddad, Partition légendaire, Painting on canvas
Fadia Haddad, Partition légendaire, Painting on canvas
Fadia Haddad, Partition légendaire, Painting on canvas
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Fadia Haddad, Partition légendaire, Painting on canvas
Fadia Haddad, Partition légendaire, Painting on canvas
Fadia Haddad, Partition légendaire, Painting on canvas
Fadia Haddad, Partition légendaire, Painting on canvas
Fadia Haddad, Partition légendaire, Painting on canvas
Fadia Haddad, Partition légendaire, Painting on canvas
Fadia Haddad, Partition légendaire, Painting on canvas
Fadia Haddad, Partition légendaire, Painting on canvas
Fadia Haddad, Partition légendaire, Painting on canvas
Fadia Haddad, Partition légendaire, Painting on canvas

Partition légendaire, 1996
Fadia Haddad  

Painting : mixed media · 92 x 73 x 3 cm 36.2 x 28.7 x 1.2 inch · Ready to hang

€3,000 3 000 €

One of the last works available by this artist

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Shipped from: France

Delivery to: France , € 210

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Verified Reviews : 9.6/10
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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, framed, ready to hang

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

mixed media on canvas

Dimensions ( cm • inch )

92 x 73 x 3 cm 36.2 x 28.7 x 1.2 inch Height x Width x Depth

Artwork dimensions including frame

97 x 78 x 4 cm 38.2 x 30.7 x 1.6 inch

Sold by

Art gallery

Professional art gallery • France

Credentials

Vetted seller since 2018

Description
Fadia Haddad
Partition Légendaire 1996
mixte media on canvas, signed and dated,

Born in Beirut in 1959 1983 Lebanese Academy of Fine Arts, Beirut, Painting Diploma 1988 Ecole Nationale Superieure des Beaux-Arts, Paris, Diploma in Fine Arts This is all the power and poetry of the first arts, of which inspires the series of masks that resurface in his work. The compositions are usually vertical and complex in their realization. The lines and the colors mix to compose always different and figurative-inspired drawings where everything is symbolic in a series that could go to infinity and where the artist gives free rein to his instinct and his imagination. Totems, Birds, Masks, three subjects that Fadia works endlessly. The totems disappeared with time leaving room for birds, then masks. The artist's interest in the primitive arts was not conscious when she began her work. At first his totems were dislocated, fragmented in space and then little by little, they took shape. This theme dominated his work for six years, but already the bird appeared introducing new forms round, pointed, in flight, posed ... The colors that Fadia Haddad handle with master's hand catch the eye and take possession of the one who looks at them . These masks do not hide anything, they are forms that inhabit us, they do not hide, they reveal us. If some motifs evoke figures carved in Africa, it is because in contact with such object Fadia radicalizes its aspiration to a certain idea of ??purity. Fadia's masks are like the rest of his work, they reflect and release energy. Fadia is in perpetual motion. It is this energy that gives both balance and diversity to one's creativity. It is through Taoiste philosophy that the artist was able to reach a mental and physical state where she is both inside and outside of her work. She always meditates before beginning to paint to strive for perfection. His way of working is unusual. She works flat on the floor and on several paintings at the same time, she spreads 3 large paintings, or 20 pieces of paper and moves from one to another. From there comes his freedom in movement and color. She moves like a dancer between her works. It gets unprecedented evaporation effects, nothing or almost nothing flows. Everything where almost evaporates
Permanent Collection of the Institute of the Arab World (IMA) Collection Barjeel Art Foundation Collection Heritage of Humanity, artistic memory of the 20th. Century Auctions: Drouot Paris, Sotheby's London, Christie's Dubai Sale Private Collections: Among others: Saleh Barakat, Joseph Kirszenberg, Marc and Michele Vence, Alice Mogabgab, Fahd Hariri, Roger Azar, Ton Vink, The Centaurs, Alphonse Philips, Rolf Philips, Raphael Phillips, Odile Finck, Eric Beccafico ...

Animal

figurative

Birds
Fadia Haddad, Partition légendaire
Fadia Haddad

Fadia Haddad

Lebanon  • 1959

Presentation

Born in Beirut in 1959 1983 Lebanese Academy of Fine Arts, Beirut, Diploma in painting 1988 Ecole Nationale Supérieure des Beaux-Arts, Paris, Diplôme d'Arts Plastiques It is all the power and poetry of the primitive arts, including inspires the series of masks that resurface in his work. The compositions are most often vertical and complex in their realization. The lines and the colors mix to compose drawings always different and of figurative inspiration where everything is symbol in a series which could go to infinity and where the artist gives free rein to his instinct and his imagination. Totems, Birds, Masks, three subjects that Fadia works endlessly. The totems have disappeared over time giving way to birds, then to masks. The artist's interest in primitive arts was not conscious when she started her work. At first, its totems were dislocated, fragmented in space, then gradually, they took shape. This theme dominated his work for six years, but already the bird appeared introducing new forms round, pointed, in flight, posed ... The colors that Fadia Haddad handles with a master hand capture the gaze and take possession of the viewer. . These masks hide nothing, they are forms that inhabit us, they do not hide, they reveal to us. If certain motifs evoke figures sculpted in Africa, it is because, in contact with such and such an object, Fadia radicalizes her aspiration to a certain idea of purity. Fadia's masks are like the rest of her work, they reflect and give off energy. Fadia is in perpetual motion. It is this energy that gives both balance and diversity to his creativity. It is through the Taoist philosophy that the artist was able to reach a mental and physical state where she is both inside and outside of her work. She always meditates before starting to paint to strive for this perfection. His way of working is unusual. She works flat on the floor and on several paintings at the same time, she spreads 3 large paintings, or 20 pieces of paper and moves from one to the other. Hence his freedom in movement and color. She moves like a dancer between her works. It obtains unprecedented evaporation effects, nothing or almost nothing flows. Everything where almost evaporates. Permanent collection of the Institut du Monde Arabe (L 'IMA) Barjeel Art Foundation Collection Heritage of Humanity Collection, artistic memory of the 20th century. century Auctions: Drouot Paris, Sothebys London, Christie's Dubai Sale Private Collections: Among others: Saleh Barakat, Joseph Kirszenberg, Marc and Michèle Vence, Alice Mogabgab, Fahd Hariri, Roger Azar, Ton Vink, Les Centaures, Alphonse Philips, Rolf Philips, Raphaël Phillips, Odile Finck, Eric Beccafico ...

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