The search engine giant Google (Google) celebrated today the birthday of the Algerian artist, Mohamed Racim, who is considered one of the most famous Algerian painters and is considered by critics to revive the art of miniature decoration.
And Google placed on its home page a drawing showing the late artist holding his brush, in the framework of a painting drawn in the manner of miniatures. Read also The Moroccan “couscous”, the Tunisian “Sharafiya” and the Turkish “miniatures” are on the UNESCO Intangible Heritage List. Turkish “miniatures”… Evidence of the Renaissance in the history of Islamic art Talent, imagination and precision.. the tools of a Moroccan young man who masters the art of making miniatures Islamic architecture in miniatures.. the scenes of artistic life in the house of Sheikh Jamal Al-Basha
Critics describe Mohamed Rasim’s work as accurate and patient, as well as poetic and aesthetic in expression, in addition to the good choice of colors. He is considered one of the most important and largest miniature artists of the twentieth century.
Rasem worked for a long time as a teacher at the Institute of Fine Arts, and his miniatures were collected in several books, including Islamic life in the past.
After Rasim won the Great Art Prize for Algeria in 1933, in addition to the Order of Orientalists, his works were exhibited all over the world, and he has several works in world-renowned museums.
The artist Mohamed Rasem and his wife died in the city of Al-Abyar in 1975 at the age of 79 in mysterious circumstances, the causes of which are not yet known, according to what Wikipedia transmits.
Consolidation of Arab memory
Muhammad Rasim was well versed in various styles of miniature painting and well versed in its history. He often gave titles to his paintings, such as a Persian style or an Egyptian style, depending on the style he used, according to what Emma Chubb wrote in the Encyclopedia of the Museum of Modern Art and the Arab World.
The writer Chubb recalls that the artist Rasim, in the last period of his artistic career, said in his description of his works that he wanted to consolidate the memory of the Arab culture, which was rapidly distorted by French colonialism.
Art historian Roger Benjamin considers that Rassem was deliberately using the imperfect and relatively altered perspective in order to assert his Moorish identity and to elevate the imitation of miniatures over European models. At the same time, Roger Benjamin notes, his paintings attest to his careful understanding of local gestures and costumes and rewrite shameful Orientalist painting methods, Chubb reports.