PARIS: The mysterious Fatma Haddad \u2013 known by her artist name Baya \u2013 rose to fame aged just 16. She was elevated to the rank of icon by a generation of post-war French intellectuals. More than 20 years after her death in 1998, she continues to be venerated by critics and collectors alike.<\/p>\n
A new exhibition at the Institut du monde Arabe in Paris, with works donated by Claude and France Lemand, presents a selection of her drawings, gouache paintings and sculptures in a comprehensive tribute to Baya\u2019s career, which spanned more than five decades. Many of the masterpieces on display in \u201cBaya: Women in Their Garden,\u201d which runs until March 2023, come from archives left by the artist\u2019s adoptive mother, Marguerite Caminat.<\/p>\n
Caminat was the first and greatest supporter of Baya\u2019s exceptional artistic talent, which was noted by Parisian gallery owner Aim\u00e9 Maeght on a trip to Algiers. Maeght invited the 16-year-old to contribute to a major exhibition in Paris in November 1947, where her work dazzled art lovers in the French capital, including Andr\u00e9 Breton, who wrote: \u201cI speak not like so many others to lament an end, but to promote a beginning. The beginning of an age of emancipation and harmony, in radical rupture \u2026 And, of this beginning, Baya is queen.\u201d<\/p>\n
\u201cBaya was a gifted artist and a hard worker,\u201d Claude Lemand, one of the exhibition\u2019s curators, told Arab News. \u201cShe affirmed her personality, her identity, her autonomy, her decision to (be an artist) at a very young age, but without ever offending others.\u201d<\/p>\n <\/p>\n In 1953, Baya married musician El Hadj Mahfoud Mahieddine and took a 10-year break to devote herself to her family in their home in Blida, Algeria. When she started producing art again, new perspectives were revealed, no doubt influenced by the Algerian War of Independence, which had taken place in the interim.<\/p>\n It was a pivotal period for the artist. \u201cFrom 1963, she developed new themes, starting with her landscapes \u2014 her Garden of Eden \u2014 a joyful celebration of nature and life \u2026 surrounded by sunny mountains and dunes, with four rivers, the symbolic trees of Algeria \u2014 the olive tree and the date palm, and full of birds and fish of all colors. The birds sing, the fish dance,\u201d Lemand said. \u201cOasis or island, the Garden of Eden has the colors of Algeria: the blue of the Mediterranean, the red of its land, the green of its vegetation, the gold of its dunes.\u201d<\/p>\n Some critics highlighted the repetitive nature of Baya\u2019s work, and in response, Lemand explained, she developed other themes, including her \u201cliving stills,\u201d which often incorporated musical instruments, inspired by her husband\u2019s profession.<\/p>\n \u201cAll the elements of her (still life works) are represented as living beings, their eyes always wide open to others and to the world, with expressive attitudes of seduction and mutual affection, participating in general harmony, in a symphony of forms and colors,\u201d Lemand added.<\/p>\n<\/p>\n