Behjat Sadr

Vision, movement, bitterness and passion and life can be seen in the works of this outstanding artist of our country’s history. We must remember that he was born in 1303. It means 90 years, he was born nearly a century ago. At one time, he has carried out these rebellions inside the country and abroad that our grandmothers (who were at the same time as him) maybe could not even learn math or be present in society, and basically, according to the tradition that existed in Iran, a woman’s literacy and knowledge was a scientist if she was more than high school. So, in her time, as a woman, she faced the hardships of the society and the confrontations of the society. He entered the Faculty of Fine Arts in 1327 and says: “The university was very useful for me. Before the university, I went to Mr. Petger’s private classes (1326), but the university was an environment for me, a living environment where all people worked, and architects and painters all worked in the same environment. And even our programs were a copy of the Bouzard in Paris. When they wanted to do Jujman, at first, French words were terrible for me, words like composition and sketches. But we learned little by little.” He says this about his way of studying: “I used to come early in the morning and leave my model at the college, then I would go to the elementary school and teach. After that, I would come to the college and study. Under these conditions, I graduated from the university with the first rank (1333), and at the suggestion of the university president, they gave me the “Medal of Disgrace” which came from France (1334).” “Lionello Venturi”, a critic and professor of modern art history at the University of Rome and a member of the Venice Biennale jury, writes about Behjat Sadr: “I visited Mrs. Sadr’s exhibition at Bosola Gallery in Rome. I admire the creative imagination of this artist. Not only is the use of color in her paintings deep and intense, but her expression is equally strong and intense.” “Emilio Villa” in an article called “Illustrator of Paradise”, writes about Behjat Sadr: “It is an amazing case that an Iranian artist who is undoubtedly under the influence of the European expression of new painting, in the chamber of an incurable contradiction between knowledge and myth, has been able to put this contradiction at the service of a brilliant composition full of primitive qualities, so that without betraying Western innovations, he can preserve and intensify its deep roots. Thus, Behjat Sadr He draws his own heaven and the power of his pen is inspired by Iranian miniature and enameling, which is inspired by mysterious pursuits in the hidden ways. Sadr’s paintings return us the old ideal of lost original light in the modern and anxious world. He studied for a period in Italy and he mentions it as a very lively period of his work, as he says: “It is a period when I took a lot and gave a lot of exhibitions and worked, and it is a very lively period of my works. Someone who goes out of Iran for the first time and Italy, Italian cities, beauties, buildings, rivers and exhibitions, all of this had an effect on me, and at the same time, I wanted my own independence and my own work. to be I was myself, that is, with the changes that are in my works, there is movement, there is delay, there is not being stuck in one place, these were also in my works, and very soon I held an exhibition (in 1336, he held his first solo exhibition at Pincho gallery in Rome) and the first person who wanted to buy my work there was Federico Fellini. “Julio Carlo Argan” writes about Behjat Sadr in an article titled Representation of the Inner Gem: “Although the period that Behjat Sadr worked in Rome was fateful for training and completing his learning, in fact, this artist brought the understanding, history and understanding of materials and the value of symbols and signs from Iran to Italy. He, who was deeply connected to the tradition of his country, confronted and engaged with Western modern art. The later periods of his work in which he used wood Karede is exactly the expression of this dual experience.” Behjat Sadr looked at objects, nature, trees and texture as a figure, also there are traces of fans, shutters and objects in the texture of his paintings. His house is a museum and his works have been stolen from museums. He introduces himself as a lively, inquisitive and moving person, and therefore he says that the time he spent in Italy gave him enough time to reach the peak of vibrancy. And I am known more as a male painter because my works do not have that feminine tenderness in any way. He says about his works that he took the most influence from the tree and further says that my works are not thought of in any way when drawing abstracts, and I am satisfied with sitting behind the easel and my brush. He didn’t, and the canvas on the floor and the trowels were my tools and methods of work that allowed me to paint in a different way.