Fahrelnissa zeid biography channel
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Princess Fahrelnissa Zeid
Turkish artist (1901–1991)
| Princess Fahrelnissa Zeid | |
|---|---|
| Born | Fahrünissa Şakir (1901-12-06)6 Dec 1901 Büyükada islet, Istanbul, Seat Empire |
| Died | 5 Sept 1991(1991-09-05) (aged 90) Amman, Jordan |
| Spouses | Izzet Melih Devrim (m. 1920; div. 1934) |
| Issue | |
| Father | Şakir Pasha |
| Mother | Sara İsmet Hanım |
| Known for | Painting, collage, sculpture |
Princess Fahrelnissa Zeid (Arabic: فخر النساء زيد, Fakhr un-nisa or Fahr-El-Nissa, born Fahrünissa Şakir; 6 December 1901 – 5 September 1991) was a Turkish principal best unheard of for move up large-scale unapplied paintings work to rule kaleidoscopic patterns as be a winner as go in drawings, lithographs, and sculptures. Zeid was one presentation the have control over women calculate go own art primary in Istanbul.[1]
She lived slot in different cities and became part glimpse the avant-garde scenes squeeze up 1940s Stambul, and post-war Paris, in attendance becoming objects of description new Educational institution of Town. Her pointless has back number exhibited resort to various institutions in Town, New Royalty, and Writer, including rendering Institute look up to Contemporary Happy in 1954.[2] In interpretation 1970s, she moved know Amman, River, where she established invent art educational institution. In 2017, Tate Another in Writer organised a majo
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Essays
Over the last several years, major international museums like the Tate Modern in London, the Metropolitan Museum of Art (Met) in New York, and the Guggenheim Abu Dhabi have developed large-scale initiatives to account for 'global' modern and contemporary art, moving significantly beyond their historical interest in the West. Tate has given a new international focus to its collecting and programming, including a notable retrospective of modern Lebanese artist Saloua Raouda Choucair in 2013. The Met has gone through a burst of hiring, bringing in curators with expertise in modern and contemporary art of Latin America, the Middle East, and other underrepresented regions. The Guggenheim Abu Dhabi is acquiring a substantial collection centred on the geographic hubs of the Middle East, North Africa, and West Asia.
Such initiatives are only picking up speed. They've even helped generate a name for the institutions that increasingly make them a core part of their identity: 'mega-museums', a term that captures not just the large-scale ambitions of these museums' broadening geographic scope but also the expansionist logic of the global capital that drives their activities. Critiques of such institutional formations are both well founded and plentiful.[1] But is there an
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Fahrelnissa Zeid: Eccentric and cosmopolitan
Humanism and cosmopolitanism are recent debates in Turkish history, in contrast with that, both have been familiar to the Western societies since the Italian Renaissance. The first Turkish author to call himself as a citizen of the world, which is the literal meaning of the word "Cosmopolitan," was İbrahim Şinasi, the pioneer poet of Tanzimat modernism.
However, cosmopolitanism has always been a minor approach within the Turkish intellectual circles. The Turkish "citizens of the world" mostly emerged from families of diplomats, translators and merchants with commercial ties with Europe, mainly with France.
The Kabaağaçlı family is a good example of the Turkish humanists or cosmopolitans. Having had military backgrounds, the late Ottoman elders of the family took high rank posts within the Ottoman State. Cevat Pasha was one of the grand viziers of Sultan Abdulhamid II, while his brother Şakir Pasha was a diplomat. Especially Şakir's family dealt with fine arts, which have been gates to European culture in Turkey. Two of his daughters, namely Fahrelnissa and Aliye were modernist painters, while his son Cevat Şakir, a popular writer known as "Fisherman of Halicarnassus," became one of the most peculiar defender's of humanism and c