Angu Walters

Couple II, Painting, Acrylic on Canvas

2010

Here is a painting from Cameroon, Africa of a happy couple holding hands. It's romantic. :: Painting :: Cubism :: This piece comes with an offici...

Here is a painting from Africa of a mother and newborn infant in such warm colors. :: Painting :: Surrealism :: This piece comes with an official...

In this acrylic painting from Africa, a happy couple sings a love song. :: Painting :: Surrealism :: This piece comes with an official certificate...

A bright and lively original painting depicting African dancers. :: Painting :: Contemporary :: This piece comes with an official certificate of authenticity signed by the artist :: ...

Frank Shifreen Couple 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses which juxtapose the purity and beau...

Since the 1940s, the Egyptian painter Hamed Abdalla is not only a visionary pioneer of modern art for the global south and Arab countries; he is also one of the first of his generation to envision painting as political art and activism. The current display focuses on a specific time of defeat and disillusion for a whole generation of Arab artists and intellectuals, in the aftermath of the “Six Days War” led by Israel and their allies (a war title which a lot of Arab activists consider propagandist, preferring to call it “The Defeat of 1967” or simply the “June 1967 War”). This persistent ideological wound became the symbol of failed dreams for the “Arab Nation” or Arab states alliances – including the short but emblematic Egyptian-Syrian achievement of the United Arab Republic. Another major failure, to which Abdalla will respond through the paintings on display here, is the Egyptian President Anwar Sadat program of “opening up” (Infitah) the Egyptian economy and give way to political compromise with the US and Israel – Abdalla assimilating this period to a vast state of Coma for all Arab people and territories. In a collective statement by a group of Egyptian artists exiled in Paris (including Abdalla), published in the Egyptian local journal Al-Dustur, on 5 December 1977, one can read: “This disaster is far greater than the defeat of June 1967. Rather, it approaches the scale of the disaster that took place in 1948 (…) To destroy the Arab people’s noble three decades-long struggle against imperialism and Zionism (…) Sadat is exploiting the stifling economic crisis that Egypt is currently facing (…) We must resist this betrayal of our nation or be crushed under the wheels of global imperialism for generations to come.” The works presented here reflect Abdalla’s transformation of the Hurrufiyyah aesthetics, to achieve his own way of “Arab Letterism”. It claims for a deeply experimental, non-decorative, politically committed and non-commercial use of the Arabic letter...

A fabulous composition that is inspiring and uplifting. Technically, it is executed very well with a lot of detail, which shows in our detail shots. This is an artist who is coming...

Valerie Etitinwo's unique approach to abstract figurative painting celebrates the unconventional beauty found in imperfection and awkwardness. The Nigerian-Swiss artist uses bold col...