{"id":30391,"date":"2021-09-17T04:01:58","date_gmt":"2021-09-17T04:01:58","guid":{"rendered":"https:\/\/jazairhope.org\/?p=30391"},"modified":"2021-09-17T04:01:58","modified_gmt":"2021-09-17T04:01:58","slug":"a-woman-painting-women-major-show-on-colourful-algerian-painter-baya-explores-her-influence-on-modernism","status":"publish","type":"post","link":"https:\/\/jazairhope.org\/en\/a-woman-painting-women-major-show-on-colourful-algerian-painter-baya-explores-her-influence-on-modernism\/","title":{"rendered":"‘A woman painting women’: major show on colourful Algerian painter Baya explores her influence on Modernism"},"content":{"rendered":"
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\u201cWhen I paint, I am happy and I am in another world.\u201d Those were the words of the Algerian Modernist Baya Mahieddine (1931-98), known simply as Baya, who is being paid tribute in a retrospective at the Sharjah Art Museum in the United Arab Emirates. Baya is the latest prominent Arab artist to have their career highlighted in the museum\u2019s annual\u00a0Lasting Impressions<\/em>\u00a0series and it is the first museum exhibition of her work in the Middle East outside of her home country.<\/p>\n

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\"Baya's<\/a><\/p>\n<\/div>\n

Baya’s The Hoopoe (1975) shows her love of the fantastical and her use of colour and pattern<\/span>\u00a0Courtesy of the Kamel Lazaar Foundation<\/span><\/span><\/div>\n<\/div>\n<\/div>\n

The show features more than 70 works that burst with life and joy, expressed by a bold sense of colour and contour. \u201cWhat is special about this exhibition is that it spans Baya\u2019s practice from the 1940s to the 1990s, and therefore includes examples from various phases of her career, and also of the various subject matters she tackled,\u201d explains the co-curator Suheyla Takesh.<\/p>\n

Baya\u2019s painterly style is expressive, depicting female characters that sing and dance in ornamented dresses, serenaded by musical instruments, flowers, fish and birds in leafy scenes. \u201cThis is a woman painting women, so the representation you get is more personal and is not skewed by a male or a colonial lens,\u201d says Takesh.<\/p>\n

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\"Baya's<\/a><\/p>\n<\/div>\n

Baya’s Woman with Two Peacocks and Aquarium (1968)<\/span>\u00a0Courtesy of the Barjeel Art Foundation<\/span><\/span><\/div>\n<\/div>\n<\/div>\n

Not only has Baya\u2019s body of work contributed to the field of Modernism in North Africa, but she was praised by European pioneers from an early age. Self-taught, Baya created a world of her own inspired by her childhood memories and surroundings, as well as her rich Algerian and indigenous Amazigh origins.<\/p>\n

The French surrealist poet Andr\u00e9 Breton described her as a \u201cqueen\u201d and she even befriended Picasso during her ceramics residency in Vallauris, in the south of France. A rare work in the show is a painted ceramic figurine of a woman, on loan from Lebanon\u2019s Dalloul Art Foundation, which was probably created during Baya\u2019s French residency.<\/p>\n

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\"Baya's<\/a><\/p>\n<\/div>\n

Baya’s Untitled ceramic work (around 1948-53) was probably met on a residency in France, where the artist met Picasso<\/span>\u00a0Collection of Ramzi and Saeda Dalloul Art Foundation, Lebanon<\/span><\/span><\/div>\n<\/div>\n<\/div>\n

\u201cWhat surprised me most about her practice was her confidence in what she was doing and how she did it. Despite all the years and what she went through, she did not let go of her deep rooted sense of identity and self,\u201d the co-curator Alya Al Mulla tells\u00a0The Art Newspaper<\/em>. Needless to say, Baya led an extraordinary life.<\/p>\n

Born near Algiers, she was orphaned at the age of five and was later adopted by the painter and art collector Marguerite Caminat Benhoura, encouraging her artistic inclination. It was in 1945 that the French art dealer Aim\u00e9 Maeght came across Baya\u2019s talent and organised her first exhibition at Galerie Maeght, Paris, in 1947, when she was only sixteen.<\/p>\n

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\"Baya's<\/a><\/p>\n<\/div>\n

Baya’s Woman and Fantastical Character (1947) was exhibited in her very first exhibition in Paris in 1947<\/span>\u00a0\u00a9 Galerie Maeght<\/span><\/span><\/div>\n<\/div>\n<\/div>\n

For this Sharjah show, Galerie Maeght are lending some of the same paintings that were displayed in Baya’s very first show, including\u00a0Village and Hill<\/em>\u00a0and\u00a0Woman and Fantastical Character\u00a0<\/em>(both 1947).<\/em>\u00a0Baya\u2019s family are also lending two works.<\/p>\n

According to the exhibition\u2019s curators, Baya remained in France until 1953. One of the misconceptions they aim to break down is that she stopped painting after marrying a musician and raising a family. \u201cWe do have works on display from that period,\u201d Al Mulla says. \u201cAlthough Baya may not have been painting as frequently as she had wanted to, it never completely stopped.\u201d<\/p>\n

\u2022 Lasting Impressions: Baya Mahieddine\u00a0is on view at Sharjah Art Museum until 31 July 2021<\/em><\/p>\n

RAWAA TALASS theartnewspaper.com<\/p>\n<\/div>\n<\/div>\n

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