Written by MARIA LUNDERSKOV

Born in Cairo in 1889, Ahmed Sabry was a prominent Egyptian painter who played a significant role in the development of modern art in Egypt during the 20th century. Sabry is considered a pioneer of classic easel portraiture and is known for his contributions to the art scene and artistic education in Egypt. Sabry's childhood was marked by the early death of his parents, which led to a tumultuous upbringing characterized by frequent relocations.^[i]

Sabry received his artistic education in Europe. After graduating from the School of Fine Arts in Cairo in 1914, he traveled to Paris in 1919, where he enrolled in the Académie de La Grande Chaumièreand the Académie Julian. He also studied at François Schommer's atelier, where he trained under Professor Paul Albert Laurens and the painter Emmanuel Fougerat^[ii]. During his apprenticeship with Fougerat, Sabry specialized in portraiture, which became his most significant contribution to Egyptian art.^[iii]

As an artist with a European education, Sabry participated in the first edition of the Cairo Art Salon. The Salon was established by the Society of the Lovers of Fine Arts or Jam‘iyyat muhibbi al-funun al-jamila, in Arabic, founded in 1923 on the initiative of Prince Yusuf Kamal. The Cairo Art Salon exerted considerable influence within a burgeoning artistic milieu. It played a pivotal role in advancing the growth of art critique, forming a growing audience, and, as a result, laying the foundations for an expanding art market.^[iv]

Sabry was challenged by the diverse artistic currents present at his time. Becoming a part of the first artist collective in Egypt, La Chimèrein 1924, or Jama'at al-Khayyalin Arabic, Sabry was exposed to an approach that aimed to pioneer an authentic “Egyptian aesthetic." Including the participation of French artists, La Chimère served as the initial collaborative endeavor aimed at enriching an alternative artistic bond between France and Egypt.^[v] La Chimère'sapproach contrasted with the Société des amis de l’artandSalon du Caire, which highly promoted the already fully established European aesthetic and styles. Despite his participation in La Chimère, stylistically, Sabry remained strictly faithful to Western academic art. As for the representation, he delivered a more realistic social and aesthetic depiction of Egypt than his European teachers^[vi]. 

For his consistency in style, Sabry was highly prized by the bourgeoisie society and criticized by the artistic environment that pushed for a more experimental approach to art. On one hand, Sabry emerged as a preferred portrait artist among the affluent Cairo society, capturing the shifting preferences of the bourgeoisie towards this style^[vii]. The increasing fondness for portraiture among the bourgeoisie reflected evolving societal norms, often influenced by their regular interactions within artistic salons^[viii]. On the other hand, art critics accused Sabry of not being an authentic painter. Aimé Azar argued that Sabry's art suffered from a “lack of temperament."^[ix]and to be caught in an “outdated artistic movement” (neo-classicism)^[x]. The considerable demand for his work might account for why he found it difficult or was hesitant to advance or drastically alter his chosen artistic style.^[xi]

Sabry's style shows blending elements of Realism and Impressionism.^[xii] In 1929, Sabry made his inaugural appearance at the Paris Salon d’Automne, showcasing a large portrait titled La Religieuse1929, or (The Nun)^[xiii]— a frontal portrait on a plain background of a young nun sitting on a chair. The painting adheres to the visual characteristics of French Realism. It is meticulously detailed and executed with precise lines that distinctly demarcate one colored area from another. This artwork was displayed at the Grand Palais and earned him the Honorary Prize bestowed by the Société des Artistes Français.^[xiv] Another variation of the subject, is his painting Untitled, n.d. depicting a nun standing by a house’s porch, which is preserved at the Museum of Fine Arts in Muharram Bey, University of Alexandria. In the choice of both the subject matter and composition, Sabry remains faithful to Realism. In this piece, the nun is depicted in an everyday situation, in a residential area, with the city showing in the background. The style of this painting diverges from that of La Religieuse,1929 (The Nun), unmistakably illustrating Sabry's adoption of the stylistic hallmark of French Impressionism. Sabry allowed the colors to blend and the lines to blur through the application of short interrupted brushstrokes; this technique enabled him to faithfully recreate the gentle, dusky ambiance cast by the setting sun's light.

The figures from most of Sabry's paintings resemble the frivolous subjects painted by the European Impressionists. While impressionist artists focused on people celebrating outdoor leisure, café culture, theatre, and busy street life^[xv], the realist artists focused more on the hard rural life^[xvi] by accurately reporting the fashion trends and postures. Sabry produced rich documentation on a visual aesthetic popular among Egypt's wealthy and cultured social groups. For instance, in one of his portraits, Untitled, n.d. part of the Dubai Collection^[xvii] he depicts a woman smiling with her eyes semi-closed. Her dress that drapes gently over her shoulders and her bust with shades of glossy white and pale blue, leaving her neck exposed, suggests affluence. By blending short and elongated brushstrokes, he instills a sense of dynamism into the composition. Moreover, the prevalent okra color evokes the illumination of an interior. These aspects position the subject within a social context, likely indoors, possibly within a salon setting. Another example is his painting Waiting, n.d.^[xviii] which portrays a woman with gold earrings, a green beaded necklace, and a soft bun or low pompadour hairstyle, common among the bourgeois of early 1900s European women^[xix]. The latter indicates that Sabry also underscored his portrayal of European influence by selecting his subjects in addition to his alignment with European art trends.

The painting Nude on the Beach, n.d., part of the Ramzi and Saeda Dalloul Art Foundation (DAF) collection, is different in terms of subject matter; it depicts a naked woman lying on her side, strongly resembling the odalisque. The French term odalisque refers to a concubine in a harem and was a popular subject among European Orientalists in the 19th century.^[xx]Orientalist artists often portrayed these female figures as naked or semi-naked, dressed in exotic clothing. The composition of the painting can be linked to Sabry's exposure to European art. However, the picture differs in several ways. For example, the subject's face is covered by her arm instead of engaging with the viewer, she is placed in a natural environment rather than an art studio or house, and she lacks the exotic stereotypes frequently depicted by European Orientalists. Therefore, the painting carries no insinuation of sensuality or malice. This might demonstrate how, despite his education, Sabry looked at his country with eyes distinct from his European teachers.

As such, Sabry played a pivotal role as a mediator between European art and the Egyptian social context. His adoption of European artistic techniques and styles contributed significantly to the evolution of the Egyptian art market, consolidating new social trends. Simultaneously, his Egyptian heritage allowed him to maintain a deep and authentic connection to the Egyptian social and cultural context, ensuring that his work portrayed a realistic image of Egypt.

Sabry worked until he sadly lost his sight, and passed away in 1955 in Cairo. Yet, his contributions to Egyptian modern art continue to be celebrated through the exhibition of his artwork.

Edited by WAFA ROZ & ELSIE LABBAN 

Notes

^[i]Ahmed Sabry (Egypt, 1889-1995),” Bonhams, accessed August 27, 2023, www.bonhams.com

^[ii]Elina Sairanen, 2021, "The Pioneers of Modern Art in Egypt," Mathqaf, accessed August 27, 2023, mathqaf.com

^[iii]Nadia von Malzahn andMonique Bellan, The Art Salon in the Arab RegionPolitics of Taste Making(Würzburg : Ergon, 2018), 117.

^[iv]Nadia von Malzahn andMonique Bellan, The Art Salon in the Arab RegionPolitics of Taste Making(Würzburg : Ergon, 2018), 119.

^[v]Fatenn MostafaKanafani, Modern Art in Egypt: Identity and Independence, 1850–1936(London: Bloomsbury Publishing, 2020), 58-59.

^[vi]Fatenn Mostafa KanafaniModern Art in Egypt: Identity and Independence, 1850–1936(London: Bloomsbury Publishing, 2020),88-91.

^[vii] Nadia von Malzahn andMonique Bellan, The Art Salon in the Arab RegionPolitics of Taste Making(Würzburg : Ergon, 2018), 117.

^[viii] Nadia von Malzahn andMonique Bellan, The Art Salon in the Arab RegionPolitics of Taste Making(Würzburg : Ergon, 2018), 117.

^[ix] Aimé Azar, La peinture moderne en Égypte(Cairo: Editions Nouvelles, 1961),20.

^[x] Aimé Azar, La peinture moderne en Égypte(Cairo: Editions Nouvelles, 1961),20.

^[xi] Fatenn Mostafa Kanafani, Modern Art in Egypt: Identity and Independence, 1850–1936(London: Bloomsbury Publishing, 2020),91.

^[xii] Rosie Lesso, 2022, “What Are the Differences Between Realism and Impressionism?”,The Collector, accessed August 29, 2023, www.thecollector.com

^[xiii] Nadia von Malzahn andMonique Bellan, The Art Salon in the Arab RegionPolitics of Taste Making(Würzburg : Ergon, 2018), 117.

^[xiv] Nadia von Malzahn andMonique Bellan, The Art Salon in the Arab RegionPolitics of Taste Making(Würzburg : Ergon, 2018), 117.

^[xv] Rosie Lesso, 2022, “What Are the Differences Between Realism and Impressionism?”,The Collector, accessed August 29, 2023, www.thecollector.com

^[xvi] Fatenn Mostafa Kanafani,Modern Art in Egypt: Identity and Independence, 1850–1936(London: Bloomsbury Publishing, 2020),89.

^[xvii] dubaicollection.ae/en/artist/ahmed-sabri

^[xviii] nationalgallery.org/artist/ahmed-sabri

^[xix] Women’s Edwardian Hairstyles: An Overview,” Hair & Makeup Artist Handbook, accessed August 30, 2023, hair-and-makeup-artist.com

^[xx] James Terry, “ODALISQUE”, Art History Glossary, Stephens, accessed August 30, 2023, blog.stephens.edu

Sources

Azar, Aimé. La peinture moderne en Égypte. Cairo: Editions Nouvelles, 1961.

Bonhams. “Ahmed Sabry (Egypt, 1889-1995).” Accessed August 27, 2023. www.bonhams.com

Hair & Makeup Artist Handbook. “Women’s Edwardian Hairstyles: An Overview.” Accessed August 30, 2023. hair-and-makeup-artist.com

Kanafani, Fatenn Mostafa. Modern Art in Egypt: Identity and Independence, 1850 – 1936. London: Bloomsbury Publishing, 2020.

Lesso, Rosie. 2022. “What Are the Differences Between Realism and Impressionism?” The Collector. Accessed August 29, 2023. www.thecollector.com

Radwan, Nadia. 2016. "Creating a new world. The vanguard of Egyptian Modern Art." Rawi. Egypt's heritage review. Accessed August 29. rawi-publishing.com

Sairanen, Elina. 2021.“ The Pioneers of Modern Art in Egypt.” Mathqaf, accessed August 27, 2023. mathqaf.com

Terry, James. "ODALISQUE." Art History Glossary. Stephens. Accessed August 30, 2023.blog.stephens.edu

Malzahn, Nadia and Monique Bellan. The Art Salon in the Arab Region. Politics of Taste Making. Würzburg: Ergon, 2018.