Thought and composition in the artist Mahmoud Sabri, from realism to expressionism realistic quantum fees

Abstract

Thought and Plastic Art in Sabri’s Paintings: From Realism toQuantum RealismPlastic artists have been trying to give their work further dimensionssuch as the scientific dimension. One of the leading figuresin this respect is the Iraqi plastic artist Muhmood Sabri , who is agood representative of this trend in contemporary plastic arts andhis theory is said to stem from some European roots. Anyhow theartist, in question, is worth being focused upon.Chapter One is a frame of the study. Hence this work starts withthe problem of the study which takes the form of these questions:What is the range of the auto mental visions that Muhmood Sabrienjoys?What mechanism does he apply to his mental and scientific approachto his product?And what are the common features both quantum realism and theabstract engineering painting have?Besides, this chapter includes the significance or importance of thestudy as well as its limitations and the procedural definitions of relevantterms.Chapter Two is a review of literature. It divides into two sections:the first section is on the mental content and discourse of modernart whereas the second section presents the mental content of Sabri’spainting.Chapter Three is on the procedures of the study. It is concernedwith the population of the research work, its sample, approach andtools of data collection. This chapter ends with the analysis of thesample models.Chapter four deals with the results and conclusions of the study.Here are three results:1. Sabri’s paintings, which can be considered to be examples of expressiverealism, generally reflect a tragic atmosphere reflecting theartist’s own social world. Sabri’s products form but a hidden framein his pure abstract (quantum realism) paintings.2. Sabri’s plastic dialectics is coloured first by his Marxism. Secondly,he tends to be scientific in his treatment . Finally, despite his innovationand creativity, he never gives up his deeply-rooted ideologywhile his aesthetic transfer and mental and ideological displacementon his way to his scientific mentalism .3. Design is an overriding feature of Sabri’s paintings. His expressiverealism (or socialism) or what he later called quantum realism,is a common characteristic of his aesthetic mental and ideologicalobjectives.The research worker has also arrived at conclusions such as thefollowing:1. The interdisciplinary relationship that governs both the mental visionand discourse of plastic art has been the focus of the majorityof modern European artistic trends. This very interest or focus hasled to plastic art values that provide a global track for artists to followand the contemporary plastic artists are not an exception.2. Sabri’s painting certainly matches with most requirements of thetrends of modernism in art. The broadest matching has been foundto be with cubism and aesthetic abstraction. Cubists have sacrificedcontent for form. On the other hand, advocates of abstract plasticart deal with formal beauty in terms of what is lying behind the visualtext for they are after what is spiritual rather what is depictedby the senses. That is why, Sabri assumes that quantum realists arenot content with just displaying all that is abstract. They are ratherrendering the essence of what is abstract via simulation or virtualpresence.