DUBAI: The Louvre Abu Dhabi has acquired a rare oil sketch by renowned Dutch artist Rembrandt van Rijn.
The painting, a study of the figure of Christ painted between 1648–56, is the first work by Rembrandt known to have been acquired for a public collection in the Gulf region, according to the museum.
It will make its first appearance at Louvre Abu Dhabi in the exhibition “Rembrandt, Vermeer & the Dutch Golden Age: Masterpieces from The Leiden Collection and the Musée du Louvre” before joining Louvre Abu Dhabi’s permanent collection.
The exhibition will showcase paintings and drawings by renowned Dutch artists Rembrandt van Rijn, Johannes Vermeer and their contemporaries.
One of the highlights of the exhibit, which opens on Feb. 14, is Johannes Vermeer’s “Young Woman Seated at a Virginal” (1670-72) and “The Lacemaker” (1669-70 ), which will hang beside each other for the first time in 300 years.
On show until May 18, the exhibition is curated by Blaise Ducos, chief curator of Dutch and Flemish paintings at the Musée du Louvre, and Lara Yeager-Crasselt, curator of The Leiden Collection and a specialist in 17th century Dutch and Flemish art.
The exhibition “traces two main narratives – Rembrandt’s development as an artist, as seen through The Leiden Collection’s 15 works by the artist, and the development of genre painting in 17th-century Holland, as shown through The Leiden Collection’s extraordinary depth of works by the fijnschilders (fine painters),” Yeager-Crasselt said in a released statement.
Ducos explained more about the context in which these artworks were created hail in a released statement.
“During the 17th century, exceptional economic, social and political circumstances enabled one country, the Republic of the United Provinces, to become the world’s leading economic power. The Dutch were living in what they considered a ‘Golden Age.’ In this context, major artistic figures like Rembrandt or Vermeer flourished. Through the confrontation of masterpieces from the Musée du Louvre and The Leiden Collection, this exhibition tells this extraordinary story.”
The exhibition will unfold in six sections: At the Heart of the Dutch Golden Age; Extraordinary Beginnings: Rembrandt van Rijn in Leiden; The Center of the Golden Age: Rembrandt van Rijn in Amsterdam; Fine Painting in Leiden: Gerrit Dou, Frans van Mieris and their Contemporaries; Picturing Everyday Life in the Dutch Republic; Historical Lessons and Tales of Morality.
Alongside the exhibition, the Louvre Abu Dhabi will run a cultural program featuring film screenings curated by Emirati artist Hind Mezaina, pop-up costumed performance in the museum galleries as well as talks and workshops on the show.
Louvre Abu Dhabi adds rare Rembrandt to its permanent collection
Louvre Abu Dhabi adds rare Rembrandt to its permanent collection
Trailblazers: Menhat Helmy bridges worlds through art
- The final part of this year’s series highlighting pioneering female artists from the Arab world in honor of Women’s History Month
DUBAI: From scenes of local village life to images inspired by the cosmos, the late Egyptian modern artist Menhat Helmy’s oeuvre was a varied one.
Helmy was born in Cairo in 1925 into a large family of seven sisters and two brothers. She died in May 2004.
One relative who remembers her fondly is her eldest grandson, Canada-based journalist Karim Zidan, who grew up with her paintings hanging in his family’s house.
“Though she passed away when I was 12 years old, I still have vivid memories of her and our interactions. I remember her helping me build Lego sets and complete jigsaw puzzles,” Zidan, who manages Helmy’s estate, tells Arab News.
Long before she became a grandmother, Menhat was a bright young woman who studied at the Egyptian capital’s High Institute of Pedagogic Studies for Art in the 1940s. Next came a great opportunity to study at the famed Slade School of Fine Arts in London, during the 1950s, reportedly making her only the second Egyptian woman to study there.
“London played a pivotal role in her career,” notes Zidan. “It was during her time at the Slade School of Fine Arts that she discovered printmaking, the art form that would come to define her work and legacy. My grandmother produced her first etchings at the school.”
The 1970s saw Helmy delve into abstraction, as in her 1973 masterpiece “Space Exploration.”
“During this time, my grandmother was fascinated with space and technological developments such as the computer,” explains Zidan. “She sought to depict her newfound fascinations in her work, but the geometric synergy in it is rooted in her appreciation for Islamic art. All of this is clearly represented in ‘Space Exploration,’ which can be viewed as a depiction of the night sky; constellations in perfect formation; a universe in flux; or even electrons flowing through a circuit board.”
Today, Helmy’s artworks can be found in the UAE’s Barjeel Art Foundation, the Jordan National Gallery of Fine Arts and the UCL Art Museum in London.
“The variety of her oeuvre, coupled with the sheer complexity and avant-garde nature of the work, is precisely what makes her such a pioneering figure in modern Egyptian art,” Zidan concludes.
Athr Foundation fosters creativity with Bait Shouaib open studio
- Bait Shouaib offers an immersive and supportive environment, fostering creativity and cultural exchange among the rich heritage of its surroundings
- During the residency, artists learned about the Al-Balad district from the perspective of a local inhabitant, resulting in studio presentations and site-specific installations
JEDDAH: The Athr Foundation has launched the first open studio at Bait Shouaib, an artists’ residential program located in the heart of Al-Balad.
Bait Shouaib offers an immersive and supportive environment, fostering creativity and cultural exchange among the rich heritage of its surroundings.
During the residency, artists learned about the Al-Balad district from the perspective of a local inhabitant, resulting in studio presentations and site-specific installations.
One artist, Badr Ali, told Arab News: “My memories of Al-Balad were from childhood, where my mom warned me of its rough and dangerous nature. Coming from Germany, I took a hiatus from art and decided to join this residency for inspiration. I was struck by the district’s homogeneity and outdated toys, sparking research on their intended audience. These toys, originally meant for Umrah migrants, now seem out of touch with today’s tech-savvy kids.”
He added: “Through my art, I explore the irony of these toys in a district that has undergone gentrification. My painting highlights the decay of mass-produced toys, using glitter and embellishments to emphasize the contrast between superficial esthetics and inherent quality issues. This residency in Jeddah has been a unique experience, different from my previous ones in France, Germany, and the UK. The cultural nuances and art scene in Saudi Arabia have presented new challenges and inspirations for my work.”
The intimate perspective offered by the artists has deepened their understanding of Al-Balad’s rich cultural heritage. The night-time festivities during Ramadan added an extra layer of enchantment.
Artist Tamara Kalo said, “This residency program has been really inspiring. I feel like there are so many things I wanted to do and not enough time. But, also, that’s the beauty. Maybe it’s like you get to explore little bits and pieces of things that are inspiring, then you do what you can and it still opens doors for other things in the future.”
On her artwork, she said: “The bedspace is a realm of the subconscious, holding tensions of dreams and nightmares, comfort and discomfort. By intertwining my body with a green ribbon on the bed frame, I create a cage-like enclosure for imaginative safe space. The green screen material offers infinite representation possibilities, blurring the line between material and immaterial through video overlay. This references the virtual world as a collective subconscious that interrupts our rest. The roshan-turned-camera work brings the public into private space by capturing direct light reflections.”
And Abdulla Bahiji’s innovative approach to reimagining the urban landscapes of Jeddah and the Hejaz region involved transforming concrete blocks into biodegradable incense burners infused with scents and flora.
Reflecting on his experience as a newcomer to Al-Balad, he said: “As a first-time dweller in Al-Balad, I found myself captivated by its essence, enveloped in a rich tapestry of scents ranging from Jawi bakhoor to fish, oud to meat. These fragrances not only altered my perception of time but also served as tangible markers of the city’s evolving narrative. Investigating the history of Al-Balad, I uncovered the remarkable resilience of the local businesses as they transitioned from traditional to medicinal products, showcasing the city’s adaptability.”
The curator of the open studio, Alana Alireza, said: “In my role I oversaw the coordination of two artists and a researcher to cultivate a harmonious and collaborative workspace. This led to the creation of a reflective essay inspired by my time in Al-Balad, exploring the themes of scent and nostalgia.”
Bait Shouaib, hosted by the Athr Foundation offers a transformative experience for artists worldwide. The four-week residency provides a fully equipped studio space and facilitates cross-cultural dialog, heritage exploration, and artistic development.
Meet Abdullatef Alrashoudi, the Saudi baker making it big in Paris
- The former surgeon turned Cordon Bleu graduate incorporates flavors from his homeland into his high-end bakes
LONDON: Five years into his medical career, Saudi surgeon Abdullatef Alrashoudi hung up his stethoscope for the final time.
It was the morning of his 30th birthday, and an offer had recently landed in his inbox from Le Cordon Bleu, the prestigious Parisian culinary school that has trained luminaries from American chef Julia Child to Mary Berry, one of the original judges on “The Great British Bake Off.”
Now 34 and running his own café in one of Paris’ trendiest neighbourhoods, Alrashoudi looks back on that email as a turning point in his life.
“It was the biggest gift,” he says. “Baking had always been my dream, and medicine was showing me it was not the right path.”
After the switch, which he admits left his hospital colleagues “shocked,” Alrashoudi’s career has gone from strength to strength. Nine gruelling months studying bread dough, baking and boulangerie techniques led to spells working in leading Parisian restaurants — and finally to a place of his own.
LÂM — which combines Alrashoudi’s nickname ‘Latif’ and ‘âme’, the French word for ‘soul’ — has been open for just over six months, but is already welcoming a steady stream of regulars through the doors.
The airy, mineral green-fronted space sits opposite a bubble tea shop and art gallery in a “hip, up-and-coming” neighbourhood just off the French capital’s Place de La République.
In the window, a hand-built La Marzocco machine from Italy, in the same vibrant green as the Saudi Arabian flag, churns out rich cups of coffee from the high-end Parisian brand Coutume.
These aromatic brews are accompanied by delicate counter bakes that fuse traditional French techniques with enticing Middle Eastern flavours — the nutty richness of tahini, the sweet crunch of pistachios, the fragrant allure of rose.
Alrashoudi, who hails from the date-rich province of Al-Qassim but grew up in north Riyadh, explains that, instead of a cinnamon roll, the café serves a black-lemon version inspired by the Saudi dessert klēja, made with soft brioche dough, honey, and biscuit.
Other inventive options on the menu include zaatar and feta buns, bakes mixing chocolate and cardamom, plus a tahini cookie, for which he uses the classic French technique of burned butter to add “a deeper flavour”.
Since opening in September, LÂM has quickly become a popular spot. While most patrons are “local to the street,” Alrashoudi, who is fluent in French, is hopeful that the coming months will bring more Khaleeji visitors — especially in the run-up to the Olympics, which will be hosted in the city this summer.
But before millions of visitors from around the world descend on Paris for a month of sporting action, Alrashoudi is focusing on getting through Ramadan, with fasting hours in the French capital running from around 5.30 a.m. until 7 p.m. this year.
To mark the holy month, he is serving Saudi dates with every coffee, and plans to continue that after Ramadan finishes because it is “working really well” with customers.
And while you can take the baker out of Saudi, you can’t take the generous spirit of Saudi out of the baker. In keeping with the principles of hafawa (hospitality), Alrashoudi holds back a cup of coffee every night for a fasting Tunisian restaurateur working next door.
Alrashoudi has already become known in the neighborhood as ‘the Saudi chef’ and his customers are “always asking” about his homeland — particularly the cultural transformation that has swept through the Kingdom in recent years under Crown Prince Mohammed bin Salman’s Vision 2030.
The young baker credits much of his success to those changes. It was the Crown Prince’s own Misk Foundation that granted him a scholarship to study at Le Cordon Bleu alongside a group of other young Saudis, who have since gone on to lead kitchens in the Kingdom and beyond.
“When I was growing up many people did not know about Saudi, but in recent years that has changed,” says Alrashoudi, who acknowledges that LÂM is one of a small number of Gulf culinary spots around the world positively influencing perceptions of the region.
But despite growing representation of Khaleeji culture on the global stage, for most people Arabic cuisine still predominantly conjures images of Levantine dishes such as shawarma, hummus, and falafel.
This is reflected in the culinary landscape of major cities, with TripAdvisor figures revealing that London and New York City combined have only one Saudi Arabian restaurant, despite hosting hundreds of Lebanese and Egyptian eateries.
Alrashoudi believes this needs to change, particularly at a time when diners are increasingly interested in broadening their horizons.
“The government has been trying so hard to have people come and visit Saudi Arabia and to export our culture,” he says. “It’s where I am from and I love it — now it needs to be experienced by the world.”
Abdullatef Alrashoudi’s orange saffron muffins
Ingredients:
200g sugar; zest of 2 oranges; 2 medium eggs; 105ml olive oil; 2 tsp vanilla extract; 300g all-purpose flour; 1/2 tsp baking soda; a generous pinch of salt; 60g almond flour; 120g buttermilk; 120ml orange juice; 20g sugar; a pinch of saffron
Instructions:
1. Mix 200g sugar with the orange zest until the mixture is fragrant and the sugar is slightly moist — this helps release the oils from the zest, packing a punch of orange flavor.
2. Crack the eggs into the sugar-zest mixture. Whisk vigorously until fully combined. Then add the olive oil while whisking. You want it all emulsified, giving your muffins a beautiful, light texture. Then add the vanilla essence.
3. In another bowl, whisk the all-purpose flour, baking soda, salt, and almond flour together.
4. Make a well in the center of your dry ingredients. Pour in the egg, oil, and zest mixture. Gently fold everything together — just enough to combine.
5. Fold in the orange juice and buttermilk. The mixture should now look golden. In a separate bowl, mix 20g sugar with the saffron to sprinkle on top of the muffins.
6. Spoon the batter into muffin tins. Sprinkle with the saffron-sugar mix. Bake in a preheated oven at 200°C for 10-15 minutes, or until the muffins are golden and a skewer comes out clean.
Oman reveals artistic team headed to Biennale Arte 2024 in Venice
DUBAI: The Sultanate of Oman has announced that its national pavilion at the 60th La Biennale di Venezia, or Biennale Arte 2024, will be titled "Malath-Haven" and will be curated by Alia Al-Farsi.
Set to run from April 20 to Nov. 24, 2024, the display in Venice will showcase new artworks by Omani contemporary artists Dr. Ali Al-Jabri, Essa Al-Mufarji, Sarah Al-Olaqi, Adham Al-Farsi and Alia Al-Farsi herself.
In line with the 2024 Biennale’s curatorial theme "Foreigners Everywhere," the artists will present a body of work that captures the essence of Oman's multicultural legacy.
Sayyid Saeed Al Busaidi, Undersecretary for the Ministry of Culture, Sports and Youth for Culture, said in a statement: “We are delighted to return to this enchanting city for the second time, showcasing the rich artistic heritage of our nation. Our presentation will spotlight a diverse collection of contemporary artwork created by talented Omani artists.
“Additionally, the Ministry is committed to fostering artistic development nationwide through various programs aligned with the Venice Exhibition. The participation of the Sultanate of Oman in the International Art Exhibition holds significant importance within the framework of intercultural dialogue and human interaction diversity. As a platform renowned for its celebration of global artistic expression, the Biennale Arte offers Oman a unique opportunity to showcase its rich cultural heritage and artistic innovation on an international stage.”
Curator Al-Farsi added: “The four chosen artists representing the Sultanate of Oman at the 60th International Art Exhibition have each made noteworthy and commendable contributions to their communities, effectively revitalizing the contemporary art scene in Oman throughout their careers. Their impact extends beyond their artistic endeavours, serving as inspiration for new generations of artists.”
New book delves into lives of modern Arab artists
- Lebanese art expert Myrna Ayad says she wanted to ‘focus on the person,’ not their work
DUBAI: Lebanese author and art expert Myrna Ayad recently released “Alcove,” a book of 30 essays exploring the lives of celebrated and forgotten modern artists from the Arab world. Ayad based her essays on intimate interviews with the artists’ relatives, students, and close friends.
“I was not after describing their work,” Ayad, who lives in Dubai, tells Arab News. “My aim was to focus on the person — what moved them, what affected them, how they lived, how they survived and why they persevered.”
The artists hailed from the Gulf, the Levant and North Africa, and were working between the 1950s and 1980s — a time when the MENA art scene was far smaller than it is today.
“Despite geography, they all knew each other and were friends,” says Ayad. “They exhibited alongside each other and deliberated together. In those days, there were key cultural capitals like Baghdad, Beirut and Cairo, so they would all gather there. They were likeminded people.” What also united them was a sense of struggle — be it political, personal or professional. “It was not easy at all being an artist in those days,” says Ayad.
They were also documenters of their time — depicting contemporary historical and political events.
“They addressed topics full-on,” says Ayad. “They had enough liberty and confidence to do that, which is why you find a lot of answers in modern Arab art.”
The term “alcove” derives from the Arabic word “al-qubba”, meaning a vault or a chamber. And the interviews Ayad conducted for the book unleashed a vault of memories for her interviewees. “All of the conversations were emotional,” she recalls. “I was on Zoom calls watching grown men cry.”
Here are five noteworthy artists featured in “Alcove.”
Abdullah Al-Shaikh (1936 – 2019)
The Iraq-born Saudi artist was an introvert who devoted his life to painting folkloric scenes, local landscapes and abstract compositions. “It was so fascinating for me that this man — who grew up in a relatively conservative environment — belonged to a family who didn’t object to art-making,” says Ayad. “He never did it for fame or fortune, he was just so committed.” Al-Shaikh held his first solo show in Alkhobar in 1981, when he was in his forties.
Jumana El-Husseini (1932 – 2018)
Hailing from Palestinian aristocracy, El-Husseini was exiled from her native land in 1948 and eventually settled in Lebanon. “Like other Palestinians, (her family) were dealt a catastrophic blow. They lost their home and Jumana never got over it,” says Ayad. “She channeled that pain into painting.” Many of El-Husseini’s artworks are landscapes of Jerusalem, where she was born. In Lebanon, she married, raised a family of three sons and received double degrees in political science and child psychology. But her heart was still in Palestine.
Nuha Al-Radi (1941 – 2004)
The Iraqi artist worked with a number of mediums, such as ceramics, painting and found objects. The daughter of an ambassador, Al-Radi lived a cosmopolitan life, residing in India, Lebanon and the UK. She was also a noted diarist, who wrote about daily life under the first Gulf War. In the politically turbulent early 2000s, she created “junk art,” making figurative wooden sculptures decorated with feathers and ornaments “in response to Western sanctions against Iraq,” according to her biography.
Mona Saudi (1945 – 2022)
The Jordanian artist, famed for her abstract marble sculptures, led a remarkable life, marked by rebellion and creativity. When she was just 17, she took a taxi from Jordan to Beirut to pursue her artistic career. “She grew up in a conservative environment. Her father forbade her from going to university,” says Ayad.
In Beirut, she mingled with artists and poets, and, in 1964, staged an exhibition in a café. The funds she made financed her studies in Paris. Saudi was also an activist who designed posters for the Palestinian Liberation Organization.
Asim Abu Shakra (1961 – 1990)
In his short life, the Palestinian artist used the cactus as a symbolic motif, representing resilience and toughness, in his emotionally-charged paintings.
“He was studying in Tel Aviv, Israel,” says Ayad. “Can you imagine what that did to him psychologically? He felt he had been uprooted and put in a box. He’s separated and alone.”
Abu Shakra died of cancer aged 29. “When the cactus became darker and darker in his paintings, that was when he was sicker and sicker,” Ayad says.