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Encyclopedia of Modern Art and Arab World
موســــوعة الفـن الحديـــث والعالــم العربـــي
Artists' Index

Suad al-Attar

سعاد العطار
Suad al-Attar
Suad al Atar; Souad; Suad Attar; al Atar

Born on 23 July 1942 in Baghdad, Iraq; lives and works in London, England.​

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Suad al-Attar

​​​​​​Biography​​​

Suad al-Attar's is part of a generation of artists who benefited from the educational foundation laid by art educators like Hafidh al-Droubi and Faiq Hassan. As one of Iraq's leading female artists, however, she is also a pioneer in her own right. Al-Attar earned degrees from Baghdad University and California State University. She also did graduate work in London, studying printmaking at the Wimbledon School of Art and the Central School of Art and Design. Following her studies, al-Attar taught at the University of Baghdad. In 1965, the artist held a solo exhibition in Baghdad, becoming the first woman to do so. Her surreal canvases have a uniquely mysterious quality that resonate with Iraq's rich literary past. Al-Attar is counted among the many modern and contemporary Iraqi artists who are committed to preserving the cultural traditions of their homeland.

Suad al-Attar became actively engaged in the Iraqi art scene in the 1960s. However, her artistic output reached maturity in the 1970s. During this time Iraqi art gained unprecedented international exposure. The government frequently sponsored artists to travel for international art events and foreign artists were invited to participate in domestic art festivals and exhibitions. Al-Attar played a major role in this outward movement exhibiting extensively in international biennials, where she won a number of awards (specifically at biennials in London in 1978, Cairo in 1984, Brazil in 1985, and Malta in 1995). Al-Attar also participated in the London-based Third World Biennial of Graphic Art in 1980 which brought together printmakers from various nations in collective exploration of the media.

Although al-Attar has lived in London since 1976, she has remained faithful to the cultural heritage of her birthplace. She has embraced Iraq's folkloric past drawing inspiration from Arab poetry, history, and mythology. Winged and composite creatures make a regular appearance as subject matter for the artist, recalling Assyrian and Sumerian visual culture. Other common motifs like palm trees, horses, and peacocks are also indicative of Mesopotamian, as well as medieval Islamic, influence. These subjects have since become powerful symbols for Iraq itself. In addition, classical and contemp​orary poetry​ of the region has been a constant source of inspiration for the artist. The ancient Mesopotamian Epic of Gilgamesh for example provided a literary backdrop for al-Attar's visual interpretations of the story's setting and characters. The artist also draws textual parallels in more obvious ways by weaving calligraphic poetry in and around her landscapes and figures.

Her vision of Iraq's past and present is imbued with fantastical properties. Al-Attar's oeuvre is composed of a kaleidoscope of surreal landscapes, mythical creatures, and epic characters. Even the artist's portraits are infused with a dreamlike quality. The phantasmagoric nature of al-Attar's canvases con​jure imaginative tales of days past and transports the viewer to an otherworldly space. Oftentimes utilizing a monochromatic color scheme, her characters emerge from fantastic landscapes or fading architecture. They gaze out at the viewer, inviting them to participate in an emotive and epic narrative as if the audience is the ultimate interpreter of the enigmatic scene.

Encouraged by her graphic sensitivity, much of her work is flat, linear, and emblematic. Pattern and ornamentation play a central role in her compositions. It has been suggested that al-Attar developed her style based on Islamic miniatures. Although her canvases can be quite large, this influence can be clearly seen in al-Attar's treatment of plant life, her attention to minute detail, and in her use of decorative patterning. Furthermore, there seems to be an effort towards beautification and novelty of design that is ever-present in both instances.

Al-Attar's visual interpretations of poetry and folklore are deeply personal and provocative in a way that is distinct and still resonates with viewers. Although al-Attar's oeuvre can and should be viewed within the tradition modern Iraqi inaugurated by the work of such figures as Faiq Hassan and Jewad Selim, her art also contains introspective qualities that hint at an underlying femininity. She has developed a personalized set of symbols that disclose an intimate engagement with her subjects through self-exploration and remembrance. Derived from her childhood memories these symbols include gold for the domes of the city, a fish for the Tigris, and a rooster for life in Baghdad; all reminders of home. Indeed, Al-Attar's blending of dreamscape and reality is transformative leading the viewer to a metaphysical understanding of Iraq's rich cultural heritage. Ultimately, however, this understanding is mediated through the artist​'s private emotive lens.

Al-Attar's more recent works continue this emotively imaginative quality, yet at the same time also engage more directly with current national realities, exploring and expressing the trauma that Iraq has suffered since the 1990s.

Al-Attar's work is held in both private and public collections, including many prestigious art institutions like the British Museum and the Arab Museum of Modern Art in Doha, Qatar. Unfortunately, her work is also featured on the Iraqi National Museum of Modern Art's Red List, meaning her work was looted from the museum in the wake of the US-led invasion.

Exhibitions

2006​Homage to My Land & Dreaming of a Peaceful World, Green Art Gallery, United Arab Emirates
2003​Spoleto Art Festival, Italy
_____​Palace Wharf Group Show, London, United Kingdom
_____​UNESCO Centre, Jordan National Gallery Collection, Paris, France 
_____​The Arabian Canvas, Dubai, United Arab Emirates 
2002​44th International Art Festival of Souza, Tunisia
_____​Solo Exhibition, Chelsea Art Club, London, United Kingdom
_____​Global Collection of Art, Ohio, United States of America
_____​24th International Cultural Asilah Festival, Asilah, Morocco
2001​Women of the World, University of Maryland, Washington DC, United States of America
_____​1st International Middle Eastern Paintings, Sotherby's, London, United Kingdom
2000​Women of the World, New York, United States of America
​_____​Writing Arabic, British Museum, London, United Kingdom
​_____​Flint Institute of Art, Michigan, United States of America
​_____​Solo Exhibition, Green Art Gallery, Dubai, United Arab Emirates
​1999​Riverside Studios, London, United Kingdom
​_____​Solo Exhibition, Albemarle Gallery, London, United Kingdom
1998​Kelling Festival, Norfolk, United Kingdom
​_____​230th Summer Exhibition, Royal Academy of Art, London, United Kingdom
​1997​ART 97, Red Dot Gallery, London, United Kingdom
1995 ​Forces of Change, Atlanta, Georgia, and Los Angeles, United States of America
​_____​1st International Art Biennial of Malta, Malta 
​_____​Salon International de la Peinture à l'Eau «Treg'Aquarelle », Trégastel, France
1993​Solo Exhibition, Leighton House, London, United Kingdom
​_____225th Summer Exhibition, Royal Academy of Arts, London
1992 ​Solo Exhibition, The Artist's Studio, London, United Kingdom
​_____​1st International Art Festival, Al-Mahris, Tunisia
1991​223rd Summer Exhibition, Royal Academy of Arts, London
1990  ​Solo Exhibition, Europa Galleries, Los Angeles
1989 ​Contemporary Art from the Islamic World, Barbican Centre, London, United Kingdom
1987 Group Exhibition, Mall Galleries, London, United Kingdom
1986 ​Solo Exhibition, The National Museum of Modern Art, Kuwait 
_____​Arab World Institute Exhibition, Grand Palais, Paris, France
1985​Solo Exhibition, Alif Gallery, Washington DC, United States of America
​_____​International Art Exhibition, Homage to Picasso & Miro, Madrid, Spain
​_____​International Biennial of Graphic Arts, Taiwan
​_____​International Print Biennial, Krakow, Poland
​_____​II Cabo Frio International Print Biennial Exhibition, Brazil 
1984​51st Exhibition of the National Society of Painters, Sculptors, and Printmakers, Mall Galleries, London, United Kingdom
​_____​1st International Biennial Exhibition, Cairo, Egypt
​_____​International Print Biennial, Miami, Florida, United States of America
1983   ​Suad al-Attar: Recent Paintings, Graffiti Gallery, London, United Kingdom
​_____​Contemporary Arab Artists, Iraqi Cultural Center, London, United Kingdom
1982​Group Exhibition, Museum of Modern Art, Amman, Jordan
​_____​6th Norwegian International Print Exhibition, Fredrikstad, Norway
​_____Exhibition of Contemporary Art, Ottawa, Canada
1981​Suad al-Attar: Etchings and Lithographs, Annexe Gallery, London, United Kingdom
​_____​Asilah Art and Culture Festival, Morocco
1980 ​Third World Biennial of Graphic Art, London, United Kingdom and Baghdad, Iraq
​_____​Exhibition of Women Artists, Rome, Italy 
1978 ​Contemporary Art Exhibition, New York, United States of America
​_____​The Stowells Trophy Competition, Royal Academy of Arts, London, United Kingdom
1976 The International Cagne-Sur-Mer Exhibition, France
1975 ​Contemporary Arab Art Exhibition, Algeria
1974 ​Solo Exhibition, Gallery Centre d'Accuil du Proche Orient, France 
​_____Triennial of International Art, New Delhi, India
1973 ​Exhibition at the National Museum of Modern Art, Baghdad, Iraq 
1972 ​Solo Exhibition, Gallery One, Beirut, Lebanon
1968 Solo Exhibition, Gallery One, Beirut, Lebanon 
1965 Solo Exhibition, Baghdad, Iraq

Awards and Honors

1999 ​Award of Excellence, CIB Award, Paintings for the Holland Park 1998 Opera House
1998   ​Honorary Award, Sharjah Ladies Club, United Arab Emirates 
1995​Award of Distinction, 1st International Biennial of Malta
1993  ​Featured on the UNICEF New Year Card
1985 ​Honorary Award, II Cabo Frio International Print Biennial Exhibition, Brazil
1984   ​Gold Medal and 1st Prize, International Biennial, Cairo
_____​Miro Award (1st Prize), Homage to Picasso & Miro Exhibition, Madrid
1978 ​Honorable Mention, Third World Biennial of Graphic Art, London
1975 ​Featured on the UNICEF New Year Card
1973

Honorable Mention, Interpress Agency International Contest, Poland

Keywords

Academy of Fine Art in Baghdad, California State University, printmaking, graphic arts, Wimbledon School of Art, the Central School of Art and Design, Mesopotamia, introspective, mystical, metaphysical, landscape, composite creatures, Epic of Gilgamesh, Islamic miniatures, biennials, symbolism.

Bibliography

Albemarle Gallery. Suad al-Attar. London: Albemarle Gallery, 1999.

Ali, Wijdan. Modern Islamic Art: Development and Continuity. Gainsville: Florida University Press, 1997.

Ali, Wijdan. Contemporary Art from the Islamic World. Amman: The Royal Society of Fine Arts, Essex, England: Scorpion Publishing, 1989. 

Jabra, Jabra I. The Grass Roots of Iraqi Art. Jersey: Wasit Graphic and Publishing Limited, 1983.

Kalsi, Jyoti. "Dreaming of a Better World," Gulf News, December 7, 2006. Accessed February 21, 2014. http://gulfnews.com/arts-entertainment/visual-performing-arts-2.313/dreaming-of-a-better-world-1.39799.

Mudaffar, May. "Iraq." In Contemporary Art from the Islamic World, edited by Wijdan Ali. (Amman: The Royal Society of Fine Arts, Essex, England: Scorpion Publishing, 1989), 159-174.

Porter, Venetia. Word Into Art: Artists of the Modern Middle East. London: The British Museum Press, 2006.

Qabbani, Nizar and Angus Stewart. Suad al-Attar. Translated by Suheil Bushrui. London: Al-Madad Foundation, 2004.

Further Reading

"Art and Artist Suad al-Attar Asmahan Alkarjosli" YouTube.com, 2013. Accessed February 21, 2014. http://www.youtube.com/watch?v=wM2DPsqokjU.

Bahrani, Zainab and Nada Shabout. Modernism and Iraq. New York: Miriam and Ira D. Wallach Art Gallery, Columbia University Press, 2009.

The British Museum Online. "Suad al-Attar (Iraq-UK), Inspiration from a poem, hand colored soft-ground etching and aquatint artist's proof," britishmuseum.org, 2014. Accessed February 21, 2014. https://www.britishmuseum.org/explore/online_tours/museum_and_exhibition/word_into_art/suad_al-attar_iraq-uk,_inspi.aspx. 

Shabout, Nada. Sajjil: A Century of Modern Art. Exhibition catalogue. Doha: Arab Museum of Modern Art, Qatar Museum Authority, 2010.

 

 Artwork

  • Tender Embrace, 2000 Oil on canvas, 71.5 x 56 cm Collection of Barjeel Art Foundation, Sharjah
  • Cry from Mesopotamia, 2004 Ink and mixed media on paper, 35.6 x 33 cm Courtesy of the British Museum, London Courtesy of the artist
  • Blue Paradise, 1989 Oil on canvas, 34 x 40 cm Courtesy of the artist
  • Inspiration from a Poem, 1999 Hand-Colored Soft-Ground Etching and Aquatint, 33 x 50 cm Courtesy of the artist

 Video

 Image