The great artist Sabah Fakhri in the paintings of Syrian and Arab plastic artists

Damascus-SANA

The late great Sabah Fakhri not only resided in the hearts and words of his fans, but was embodied by the feathers of Syrian and Arab plastic artists in portrait and other expressive paintings, drawing their contents from the aura that surrounded the late throughout his long artistic career and his tendency to sympathize.

The oldest paintings that were painted by the late Fakhri were a portrait by Al-Halabi artist Muhammad Safwat in 2005, in which he adopted the oil color and his great experience in drawing for individuals to present the late with the smallest details in his face and elegant dress that he was known for, with a focus on the human face.

Syrian artist Khawla Tarifi, in turn, painted Fakhri in 2016 in a watercolor portrait, but in a different style from the previous painting, as she sought through it to embody the late in a more fresh way, as if she wanted to restore his features during his youth.

The portrait painting drawn by the plastic artist Abdel Nasser Al-Shaal in 2018, in which he used oil colors, was closer to pure realism in depicting the face of the great artist than the other two paintings, and perhaps this is due to Al-Shaal’s practice in portraiture, where his works were described as closer to life.

The plastic artist Nour Al-Kawa recalled Sabah Fakhri singing in her last exhibition, which she held last year, in an expressive style, this time far from portraiture. He left a trace of his belief in the role of the artist in embodying Asma Haftar in our conscience and immortalizing her in the memory of generations.

The most recent Syrian painting that was painted for the late was by the expatriate plastic artist Issam Ismandar, using the “Digital Art” style in an oil painting.

Among the Arab artists who painted the late attend the experience of the Moroccan artist Mohammed bin Abdullah, who is called the portrait icon in his country, where he painted an honorary in a painting using “Digital Art” technology against a background of drawing by computer programs, which allowed him to approach reality to the degree of conformity.

The phenomenon of Al-Kabir Fakhri’s presence in the paintings of plastic artists, considered by the plastic critic Saad Al-Qassem in a statement to SANA, that it is a natural result “because the late was a rare national and national case, whether in terms of sound, performance or musical culture, and it concerns every Syrian and Arab citizen,” where they expressed their sadness at his departure, each in his own way. Private artists, including plastic artists, who naturally express their love for him in their language and style.

Among these paintings, Al-Qassem stops at the portrait of Muhammad Safwat, describing his work as important, in addition to the fact that there are artists who painted it after his departure as an expression of their love for him, pointing out that this phenomenon is very beautiful and confirms that there is a close relationship between music, singing and plastic art.

Samer Alshghari