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Hossein Zenderoudi

From Wikipedia, the free encyclopedia
Hossein Zenderoudi
Born (1937-03-11) March 11, 1937 (age 87)
NationalityIranian, French
Other namesHoseyn Zenderoudi,
Charles Hossein Zenderoudi
EducationUniversity of Tehran
Known forPainting, drawing, sculpture, printmaking, ceramics, tapestry
MovementSaqqakhaneh movement
RelativesBarbara Pravi (granddaughter)

Charles Hossein Zenderoudi (Persian: (شارل) حسین زنده‌رودی; born March 11, 1937) is an Iranian painter, calligrapher and sculptor, known as a pioneer of Iranian modern art and as one of the earliest artists to incorporate Persian calligraphy elements into his artwork. He is a pioneer of the Saqqakhaneh School of Art, a genre of neo-traditional modern art founded in Iran that is rooted in the history of Persian coffee-house paintings and Persian Shia visual elements.[2][3][4][5] He lives in Paris and New York.[1]

Biography

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Hossein Zenderoudi was born in Tehran, Iran, on March 11, 1937.[1][6][7]

Zenderoudi attended the Tehran College of Decorative Arts in the 1950s to study painting and calligraphy under the mentorship of Parviz Tanavoli and Marcos Grigorian.[2] He was active in the arts community in Iran, through his membership of art groups between 1958 and 1960, alongside Parviz Tanavoli, he became one of the key figures of the Saqqakhaneh School of Art, which explored the use of Persian Shia popular visual elements and calligraphy in art.[8] He influenced generations of artists internationally.

After winning an award at the 2nd annual Tehran Painting Biennial in 1960, he moved in 1961 to Paris, France and later became a French national.[2]

Zenderoudi’s granddaughter is the French singer-songwriter, Barbara Pravi, who represented France at the Eurovision Song Contest 2021, finishing 2nd place.[9]

Work

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Collections

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Hossein Zenderoudi's artwork held in permanent museum collections:

Awards

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  • 1958 - Prize at the Paris Biennial[14]
  • 1964 – Cagnes-sur-Mer prize[2]
  • 1959 – Award of the Iran-America Society, Tehran[2]
  • 1961 – Laureate of the Paris Biennial, France[2]
  • 1962 – Laureate of the Venice Biennale, Italy[2]

See also

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References

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  1. ^ a b c "Collections: Charles Hossein Zenderoudi" (in French). Centre Pompidou. Retrieved 2018-02-21.
  2. ^ a b c d e f g "Biography: Iranian Artist Charles Hossein Zenderoudi". Payvand Iran News. Tavoos Art Magazine. 2011-02-28. Archived from the original on 2021-05-22. Retrieved 2018-02-21.
  3. ^ Khosravi, Shahram (Sep 28, 2011). Young and Defiant in Tehran. University of Pennsylvania Press. p. 50. ISBN 978-0812206814.
  4. ^ "SAQQĀ-ḴĀNA SCHOOL OF ART – Encyclopaedia Iranica". Iranicaonline.org. Retrieved 2018-02-21.
  5. ^ Rooney, Authors: Maryam Ekhtiar, Julia. "Artists of the Saqqakhana Movement (1950s–60s) | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art". The Met’s Heilbrunn Timeline of Art History. Retrieved 2018-02-21.{{cite web}}: CS1 maint: multiple names: authors list (link)
  6. ^ a b "Charles Hossein Zenderoudi | MoMA". The Museum of Modern Art. Retrieved 2018-02-21.
  7. ^ Milani, Abbas (2008-12-19). Eminent Persians: The Men and Women Who Made Modern Iran, 1941-1979, Volumes One and Two. Syracuse University Press. p. 1042. ISBN 978-0-8156-0907-0.
  8. ^ Ali, W., Modern Islamic Art: Development and Continuity, University of Florida Press, 1997, p. 156
  9. ^ Erdbrink, Thomas (2021-05-23). "Eurovision, Celebrating the Sounds of a Postpandemic Continent". The New York Times. ISSN 0362-4331. Retrieved 2021-05-31.
  10. ^ "Collection: Charles Hossein Zenderoudi. K+L+32+H+4. Mon père et moi (My Father and I). 1962". The Museum of Modern Art (MoMA). Retrieved 2018-02-21.
  11. ^ "Miuz skfe | Centre Pompidou". Retrieved 2018-02-21.
  12. ^ "The Hand, 1960-61 - Grey Gallery". Grey Gallery. Retrieved 2018-02-21.
  13. ^ "Events - Special event - 'Who is this Hossein the world is crazy about?' The work of Charles-Hossein Zenderoudi". British Museum. Retrieved 2018-02-21.
  14. ^ Ali, W., Modern Islamic Art: Development and Continuity, University of Florida Press, 1997, p. `165
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