Monir shahroudy farmanfarmaian biography template
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Monir Shahroudy Farmanfarmaian
Iranian artist (1922–2019)
Monir Shahroudy Farmanfarmaian (Persian: منیر شاهرودی فرمانفرمائیان; 13 January 1922 – 20 April 2019)[1] was an Iranian artist and a collector of traditional folk art.[2] She is noted for having been one of the most prominent Iranian artists of the contemporary period,[3] and she was the first artist to achieve an artistic practice that weds the geometric patterns and cut-glass mosaic techniques (Āina-kāri) of her Iranian heritage with the rhythms of modern Western geometric abstraction.[4][5]
In 2017, the Monir Museum in Tehran was opened in her honour.[6]
Early life and education
[edit]Shahroudy was born on January 13, 1922, to educated parents in the religious city of Qazvin, north-western Iran.[5] Farmanfarmaian acquired artistic skills early on in childhood, receiving drawing lessons from a tutor and studying postcard depictions of Western a
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Born in Qazvin, Iran in 1922, Monir Shahroudy Farmanfarmaian’s distinguished career has spanned more than five decades. Incorporating traditional reverse glass painting, mirror mosaics and principles of Islamic geometry with a modern sensibility, her sculptures and installations defy easy categorization.
Farmanfarmaian attended the Fine Arts College of Tehran before becoming one of the first Iranian students to study in the United States after World War II. She graduated from Parsons School of Design in 1949 and then became a Member of the New York Art Students' League (1950-53). Engulfed in the epicenter of the modern art world, it was here that she worked alongside many iconic contemporary American artists including Jackson Pollock, Frank Stella, Louise Nevelson and Andy Warhol, all who had an influence on her work.
Farmanfarmaian's mirror and reverse glass painting mosaic sculptures are built around principles of Islamic geometry. Thro
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Monir Shahroudy Farmanfarmaian - Friends of Friends / Freunde von Freunden (FvF)
From her studio in Tehran, formerly exiled Iranian artist Monir Shahroudy Farmanfarmaian explains why she reconnected with her country and how cultures collide in her signature mirror works.
Tehran is a bright, whirling, magnificent wilderness. The air blows hot and heavy from the desert and brings with it the earth’s scorched residue; dust from another place where people are scarce and the moon hangs low, like a luminous stamp above stretches of sand and rocky outcrop. Through built-up streets this desert wind blows, past gridlocked cars from a forgotten era, against bodies swathed in cloth and faces shielded by headscarves. The people of Tehran carry on, remaining resolute against the dry heat.
This portrait is part of our ongoing collaboration with ZEIT Online who presents a special curation of our pictures on ZEIT Magazin Online.
Monir Shahroudy Farmanfarmaian lives on the other side of town