Khalid Elsmahy
Portrait art represents a philosophical and creative orientation in itself. That difficult art which has been abandoned by many, is not just a photographic simulation of the human features, and is not solely based on the professionalism of photographic transfer of dimensions, but it is in fact a mirror which reflects the influence of many components such as the artistic ability and the talent, both are based on professionalism as well as the academic study, in addition to the artist’s knowledge of both classical and modern artistic trends and styles.
Artist Khalid El-Samahy is considered one of the most prominent knights of the contemporary Egyptian art movement, and in this regard, he has excelled in blending both impressionist realism and symbolism relying on impressionist touches which the eyes do not miss.
Khalid is an Egyptian artist from the middle generation born in 1971. He graduated from the Faculty of Fine Arts in Cairo in 1993. His uniqueness is evident in the organized stages of his artistic creativity which recorded the manifestations of his participation in the Egyptian art movement. He has held nearly twenty private exhibitions and he has participated in dozens of local and international group exhibitions, he also received many awards including the first prize in painting from the Association of Fine Art Lovers 1993-1994 and the Badr El-Din Abu Ghazi Prize in 1999.
He is very enthusiastic about reviving the academic tradition of portrait art in a modern vision, and he holds art workshops and paints daily interacting with models and live cadres, which enriched his experience and refined his technique. True art goes beyond schools accustomed to the stereotypical classification of its curricula. It’s a continuous exploration of what’s beyond the dimensions of the 2-D shot or having an observant eye for a shining moment. Here emerges the role of the artist with the insight and imprint who can extract the invisible component to give the visible one extended periods of what the eyes do not see.
El Samahy’s paintings are a pictorial proof of these moments where his creative genius manifests in revealing the human interior psyche and not the external appearance of the subjects he paints. We may not be able to measure his intellectual and artistic ability based on his realistic subjects or content, which can not lure us into textual or theatrical hints as Renaissance paintings used to do in Europe, but the artist invites us to contemplate directly the essence of the human painting and to celebrate this pure humanity through the multiplicity of its patterns with an amazing strangeness and an abductor glare.
Despite his classical, nearly romantic beginnings, he leaped to stages where he combined realism with romance going beyond the concept of the paint holder, painting from the ground up. He finally transforms into postmodern trends and draws much inspiration from his Egyptian identity.
In his paintings, he deals mainly with oil color materials with great skill and ability, but he does not miss other materials, however, his first loyalty is to the luxury of oils and their longevity as a material that retains its luster and subdues the rest of the materials in its majesty. When he Strikes his brush randomly, using unfinished, or bright colors like the Impressionists or the Fawishites, he does not merely seek to complete the form but rather penetrates the depth of the content and the human condition, in its relaxation or tension, in its introversion or relaxation. From here we find him extremely close to Expressionism and keeping his distance away from its shortcomings and standing at the same distance from it and the other sects, following only his inner voice and his sect that is his honesty with himself.
As for his subjects, they are different and varied as they include landscapes as well as silent nature and he excels in all of them, but the daily life of a woman and the various situations which she goes through is his captivating subject. His feminine portraits were not only dependent on the figurine dimension and creative ability in artistic technique, but he succeeded in probing the depths of the features expressing the emotional state of the character with her feelings, aches, and joy. You can delve into the world of his characters through the personal portraits that he draws, as he does not draw the external features of the model, but he captures the depth of the character in question.
There is one phase in his career in which he produced a group of paintings where he depicted the Egyptian girl in new postures and situations that we are not familiar with within the paintings of our contemporary Egyptian artists in terms of vision, technique, subject matter, and lighting. In that phase, he is closer to realism in terms of painting and composition with a touch of impressionism which gives shadow and light a great value.
He also excels in drawing the ballet dancers but with a slightly different approach in terms of the strength of color, sensuality, the gentleness of the situation, the sweetness of feeling, the softness to the touch, the Egyptianizing of features with strong, tender, and fast brush strokes forming adjacent color spaces in a manner that seems to be quite abstract.
In the embodiment of his characters, you find the musician united with his instrument, the dreamy girl with her book, and the relaxed body in various shots. He may focus only on the human face where shadows and lights converge from different sources on its surface to hide the unmasked and reveal the illuminated part with expressions that he wants to share with the viewer.
His paintings of silent nature are represented in flowerpots in a highly impressionist style in terms of colors and style of implementation, however there are other paintings that embody stages in which he studied the movement of multiple characters within the artwork. This appears in his paintings and studies of the ancient Egyptian character, events, and historical battles in which he was interested in showcasing the details of costumes of those stages as well as the types of architecture and tools used to draw murals and their colors which appeared almost identical to what the ancients left.
He was also interested in cohabiting to the political events in Egypt after the January 25 revolution, so he painted a large painting summarizing the revolution which was a major milestone in his career. He has collections with individuals in Cairo, Belgium, Qatar, The Museum of Egyptian Art, and the Egyptian Writers Union.
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