Sometimes realism hits on the financial overhaul. And, in Egypt the economy is currently just about pulling itself through, and summer surrealism appeals to those trying to cope with the oppressive heat. And, they did in her heyday, without air conditioners. Engy Aflaton, an aristocratic Egyptian painter, was born in Cairo on 16 September 1926 in one of the palace of Cairo palaces, but embraced Marxism and enmeshed her ideology into her art. Her approach to spatial definition was most vigorously pursued throughout her painting career. She shocked the conservative mindset of her contemporaries. But, she couldn't give a toss. Aflaton was arrested in the last years of the 1950's and she spent two months in detention. And, being the spirited soul she was, she escaped from the prison to Kafr Shokr, "Village of Thanksgiving", a remote backwater, and a perfect hideaway. She lived there disguised as a destitute peasant. I personally believe, however, that we need to be very careful, in making more conservatives of the contemporary generation, more sensitive to the art of the masters of the past. There is nothing in that mindset that contemporary artists and viewers would disagree with. They draw inspiration from the past. She boldly braved the moods of the strong touches for her brushes Aflaton did not like to be labeled or pigeon-holed. She was a free spirit. Perhaps she did not see herself as one, but she is widely considered an expressionist painter. And, Safarkhan offers her a chance to live beyond the grave, and gracefully so. Another fundamental aspect of this unique collection is that it showcases the art of Egypt at a certain very specific era. Most of the featured artists studied in Europe but that in no way compromised their Egyptian character. In a fascinating fashion each of the featured artists in this particular exhibition expressed their work in a personal and individual manner. And, the range is diverse and vivid. Harking back to the past has a unique flavour. And, insightful nostalgic snippets surprise. I understand that her voice was ever so slightly guttural. Smoke,I presume? Her voice and her personality were intimately intertwined.Nevertheless, they had nothing todo with the bold brushstrokes, And, what do we make of Al-Hussein Fawzi (1905-1990) was highly acclaimed for his pioneering work in journalistic graphic arts in Egypt and the Arab World. Fawzi similarly studied lithography at the Estienne School in Paris. Incidentally, Fawzi created celebrated illustrations to books penned by the Nobel Literary Laureate Naguib Mahfouz that were published in Al Ahram Newspaper. There are curious elements of secrecy and surprise. Fawzi could have been a florist. Fawzi was one of four Egyptian artists to have their work engraved on crystal by the Steuben glass factory in New York. In Egypt he was celebrated as well. Fawzi was awarded the State Prize and Order of Sciences and Arts in 1963, and in the same year, won the Lithography prize at the Alexandria Biennial. In 1989 he was awarded the State Prize of Merit. Egypt from the inside is a magical land. And, each artist exhibited dwells on one particular aspect of the persona of eternal Egypt. And, a complex variety of textures, colours and finishes vie for the viewers attention. Every artist has a vision, not always obvious. Such capacious works of historical art survived because they did have something to bind. The meaning of all these panoramic gems come to full view, leaving Egypt as eternal as ever. The scattered facts are there for all to see. Some of the artists display a deep humility. The exhibition moves nimbly, but never drolly. And, within this framework emerged a fresh flexibility. SafrKhan's latest showcase is a testament to the cosmopolitanism of Egypt, ans the proprietress Sherwet is keen to display Egypt ata time she knew well. Ervand Demerdjian (1870–1936), born in Constantinople where he studied fine arts and graduated with honors in 1890. In 1893 he went to Paris and enrolled in the “Academie Julian” becoming a student to painter Jean Paul Laurens and to the famous orientalist Benjamin Constant. At the same time he worked at the Louvre studying and copying classical works such as Delacroix, Dante and Virgil. With the pogroms against the Armenians in the dying days of the Ottoman Empire, Demerdjian fled to Alexandria and from there he settled in Cairo. Egypt was a cosmopolitan country, replete with cultural expressions. Zohra Efflatoun's (1936–1978), Enjy's sister, piece is arresting. And, Morris Farid (1917-1994) is so typical of Egypt. Artists paint affectingly throughout the exhibition. The passion is palpable. Tahia Halim (1919-2003) was an indomitable spirit. And, so was Mohamed Ismail (1936–1993), was raised in the Royal Palace, and as such was considered true Blue Blood. Halim was awarded the Guggenheim prize in 1958. And, in 1945 Halim left for Paris to join Julian Academy (1949-1951) Perhaps, artists envy sorceress precisely because they covet their myriad potions, and they desire their paint to be as potent as the potion.
