| Abstract: | The subject of the city in Arab art, as far as I know, has never been studied by art critics and historians. This has apparently not happened because of the strong influence of western modernism and its theories. This article uncovers the importance of the city in early and later modern Arab painting. Examples from the late 1930s and 1940s reflect the less developed cities in terms of their social and structural aspects. This is very obvious in the two paintings by Said (Alexandria, Egyptian) and Nazar (Baghdad, Iraqi). The Arab paintings from the second half of the twentieth century present a different mode of expression as the political and social circumstances of Arab countries are reflected in them. Paintings from this period by Arab artists presenting images of their cities such as those of Haddad and Jabbour (Beirut, Lebanese), Idrees (Jeddah, Saudi), Shammout (Alled, Palestinian), Talib and Al‐Attar (Baghdad, Iraqis), and Alhamzah (Utopia, Jordanian), are very expressive and loaded with meaning. It appears that the relationship between the artist and the city is so intimate, that the artist’s life intersects with the city’s life. The paintings discussed show that the Arab artists’ cities in most cases are not realized as hoped so they tried alternative ones. The artist sees her/himself as a savior by criticizing the state of the beloved city calling for a better one. In this sense the image of the city becomes a representation of the painter’s own artistic reservoir as a form of offerings. |
