{"id":1401,"date":"2026-09-04T01:49:12","date_gmt":"2026-09-03T22:19:12","guid":{"rendered":"http:\/\/honargardi.test\/en\/kobeh\/behjat-sadr\/"},"modified":"2026-09-04T01:49:12","modified_gmt":"2026-09-03T22:19:12","slug":"behjat-sadr","status":"publish","type":"page","link":"https:\/\/honargardi.com\/en\/kobeh\/behjat-sadr\/","title":{"rendered":"Behjat Sadr"},"content":{"rendered":"\t\t
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Behjat Sadr<\/h1>\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\r\nBehjat Sadr Mahalati was born in June 1303 in Arak, his parents were both married before and Behjat was the result of their second marriage.\r\nAccording to his own words, he never thought of pursuing art as a child because his intelligence was good in solving mathematical problems. The first time he started painting, he refers to his childhood when a teacher came to his house and taught him painting. After that, he didn’t pursue painting until after high school, when he entered the preparatory school in 1320 and started painting again with the encouragement of one of his teachers. After finishing his studies, he became a painting teacher.<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\r\nIn 1339, he married Morteza Hananeh and the result of this marriage was a daughter named Mitra.\r\nFew people know that he was Forough Farrokhzad’s painting teacher and also worked in dubbing. One of his characteristics is not having the art of expression and speech. The way in which you can present yourself, maybe this is the reason why she is not known as the first female Iranian painter who has an academic education and gets a scholarship for this field and travels abroad!\u00a0 Because he was not familiar with the sidelines, interviews, and flamboyance that are specific to this field. In an isolation, he was struggling with a thought whose origin and originator was only himself. It is enough to look at his paintings. We can see the strength of his hands in (removing paint).<\/span>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\tVision, 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.”\r\n “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.\r\n “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.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\tRegarding his works, he also adds that: “One thing that no one may have noticed in my work and I insist on realizing it, is that Ms. Sadegh called it a negative painting, it requires a lot of power, and I insist that someone creates a form by removing color, not by placing color, and I create a form by removing color.”\r\n Mrs. Abby Gray, who founded the Gray Foundation, bought five paintings by Behjat Sadr and displayed them in this foundation. Apparently, three works were stolen from the Pasadena Museum, and the other two works were displayed again in New York in 2001. “Farhang Benezit dictionary of artists” is one of the largest sources of criticism and reviews of the work of painters, sculptors, designers and engravers of the world. In its 1976 edition, it introduced Behjat Sadr, and in its 1999 edition, it cites Behjat Sadr’s life and works in the completion of the introduction entry and writes: Iranian painter and collage creator of lyrical abstract works. He is one of the representatives of non-formal art and presents lyrical and calligraphic compositions in large dimensions, contrast and color jump can be seen in his work. In 1980, with color and perspective photography, he works as a collage, some of the perspectives are framed by painting, which is in harmony with the concentration of black color. Michel Ragon mentioned him in the book Abstre and Michel Tapier. His works are kept in the Minya Polis Museum, Paris Contemporary Art Foundation and Tehran Museum of Contemporary Arts. The famous French critic “Pierre Rostani” writes about Behjat Sadr in an article titled A Journey in Memory with Love: “What Behjat Sadr implements in his photo-montages is a journey to the limits of memories and to his hometown, Iran, where he lived until the end of his life beyond death, which can be the result of a countdown to his Parisian tower of silence. What a journey, what a memory of Tabrizi trees and red flowers, the Caspian Sea and the Persian Gulf, the forests near the Caucasus and the sands shared with Arabia, and what a journey in my own mind and memory. That distant spring of 1962 and the Tehran biennial in which I participated as a member of the jury and the first prize for painting was given to Behjat Sadr. This countdown and this return to the past is followed very carefully by the painter’s eye, which means that the reality of the memory is revealed. The black lines of the painting with rough lines enclose a photo, the photo is in the middle of the painting and it is the extract of the message and the essence of the artist’s vision. In December 1364, Behjat Sadr was introduced by the French Ministry of Culture to an exhibition titled Sides and Mixes, and his works were displayed alongside world famous painters such as Joseph Beuys, Elitz Itsky, Kane Holz, Holinaghi and Picasso. There are painters who believe that the promotion and development of art is superior to market popularity and marketing, and they always strive to create newer works beyond their time. Behjat Sadr is one of these artists who for many years was at odds with his environment in order to open new windows on the art of Iranian painting. Whether he was successful in this way or not should be searched in the history of Iranian art, but by paying attention and looking at his works, it is certain that Behjat Sadr understood the meaning of modernity well and applied it. Everyone knows that until today, unequal working conditions and rights for women have always existed in Iranian law and tradition, and whoever is an artist and wants to deal with a traditional and masculine society must have courage. Especially if this resistance is one body. He was not one for flattering and gathering a group of people around him, and he remained silent. She fought with breast cancer for many years and continued her life with a cheerful spirit. He was able to beat cancer. Behjat Sadr, a pioneer artist in Iran’s modern art, had a stroke on August 19, 2008 in the waters of the island of Corsica in the south of France and left forever. His body was cremated in Perlaches cemetery in France and went to the heart of nature forever. They didn’t bury him as he wanted, he doesn’t have a grave to go to his grave and leave flowers and souvenirs, take pictures and show. He wished that his death would be in the water and it happened. He had a stroke at sea and said goodbye to death.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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Solo Exhibitions<\/h3>\n

1958 – “Pardis,” Bussola Gallery, Rome<\/p>\n

1967 – \u201cPardah\u0101,\u201d (Drapes) Installation, Seyhoun Gallery<\/p>\n

1983 – Cit\u00e9 Internationale Des Arts, Salon Du 2 Etage, Paris<\/p>\n

1985 – “Lisi\u00e8res et Mixtes,” Noroit, Arras, France<\/p>\n

1990 – “Behjat Sadr,” Sandoz Salon, Cit\u00e9 Internationale des Arts, Paris<\/p>\n

1994 – “Moruri bar \u0101\u1e6f\u0101r-e Behjat Sadr,” (A review of Behjat Sadr’s works),” Ni\u0101var\u0101n Cultural Center, Tehran<\/p>\n

Group Exhibitions<\/h3>\n

1956 – The Venice Biennial, Italy<\/p>\n

1957 – Galleria Il Pincio, Rome<\/p>\n

1962 – The Venice Biennial, Italy<\/p>\n

1962 – Sao Paolo Biennial, Brazil<\/p>\n

1962 – The 3rd Tehran Painting Biennial<\/p>\n

1987 – Iranian Contemporary Art: Four Women, Foxley Leach Gallery, Washington, D.C.<\/p>\n

1994 – “Tajalli-e ehs\u0101s” (Revelation of emotions), Ni\u0101var\u0101n Cultural Center, Tehran<\/p>\n

2000 – First International Painting Biennial of Islamic World, Museum of Contemporary Art, Tehran<\/p>\n

2000 – \u201cIran, Les Jardins Cach\u00e9s (The hidden gardens), Hall des Chars, Strasbourg<\/p>\n

2002 – “Between World and Image, Modern Iranian Visual Culture,” Gray Art Gallery, NYU, New York<\/p>\n

2009 – “14\/21: Art Contemporain Perse” (Contemporary Art of Iran), Kiron Espace, Paris<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Behjat Sadr Behjat Sadr Mahalati was born in June 1303 in Arak, his parents were both married before and Behjat was the result of their second marriage. According to his own words, he never thought of pursuing art as a child because his intelligence was good in solving mathematical problems. The first time he started […]<\/p>\n","protected":false},"author":758,"featured_media":0,"parent":1366,"menu_order":35,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1401","page","type-page","status-publish","hentry"],"yoast_head":"\nBehjat Sadr - Honargardi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/honargardi.com\/en\/kobeh\/behjat-sadr\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Behjat Sadr - Honargardi\" \/>\n<meta property=\"og:description\" content=\"Behjat Sadr Behjat Sadr Mahalati was born in June 1303 in Arak, his parents were both married before and Behjat was the result of their second marriage. 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