Obituary: Monir Farmanfarmaian, the artist who opened the world’s eyes to Iran



Shah Cheragh mausoleum ceiling in Shiraz, IranPicture copyright
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The mirrored ceiling of the Shah Cheragh mausoleum, was Monir Farmanfarmaian’s greatest inspiration

Monir Farmanfarmaian appeared up on the mosaic of mirrors that coated the mausoleum’s partitions and ceiling. It was the second that reshaped her inventive profession.

“The very house appeared on hearth, the lamps blazing in a whole bunch of hundreds of reflections,” she would later write in her memoir. “I imagined myself standing inside a many-faceted diamond and looking on the solar.

“It was a universe unto itself, structure remodeled into efficiency, all motion and fluid mild, all solids fractured and dissolved in brilliance in house, in prayer. I used to be overwhelmed.”

The yr was 1975, and the setting was the Shah Cheragh (King of Gentle) shrine within the Iranian metropolis of Shiraz, that had been adorned in splintered mirrors for the reason that 14th Century.

On the time she visited the shrine, Monir was already a recognised artist within the US and her native Iran, however the epiphany in Shiraz left her “fired up with concepts”, she wrote in her memoir, A Mirror Backyard.

Monir left Iran and returned many instances because the nation underwent radical change over her life. However the affect of Iran, and of that second, by no means left her work.

Monir Shahroudy Farmanfarmaian died on 20 April in Tehran, aged 97.

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Monir Shahroudy, as she was born, was raised within the northern Iranian metropolis of Qazvin amongst peach, almond and walnut timber. Considered one of her earliest recollections was of being chased by the bazaar by a camel she had unwisely determined to chide.

When she was seven, the household moved to Tehran, the place her father had been elected to parliament, and younger Monir received her first glimpse of the capital modernising beneath the Shah, Reza Shah Pahlavi.

Monir in her studio, 1975Picture copyright
The Third Line

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Monir Farmanfarmaian in her studio in 1975

Her first style of artwork got here in a once-a-week class in class, during which she was made to attract flowers or – on one complicated event – a jug sitting on a chair positioned on a desk.

“The trainer known as this ‘nonetheless life’,” she wrote in A Mirror Backyard. “It perplexed me at first, however nonetheless it was extra enjoyable than math.”

Monir Farmanfarmaian: A life in artwork

On the Advantageous Arts Faculty of Tehran College, she met the person who would grow to be her first husband, Manoucher. Throughout World Warfare Two, the couple moved to New York but it surely was a loveless marriage, with Monir making progress in her inventive research and Manoucher holding a single-minded dedication to grow to be a famed artist.

“My position,” she wrote, “was to assist that future alongside by offering monetary assist, never-ending reward, and gracious leisure for any gallery house owners and wielders of affect who crossed our path.”

Monir Shahroudy Farmanfarmaian, InstallationPicture copyright
The Third Line

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Items by Monir Farmanfarmaian displayed in Dubai in 2015

It was Monir herself who started to affiliate with artists of affect, spending time on the Tenth Road Membership in Greenwich Village with Jackson Pollock, Mark Rothko and Willem de Kooning, amongst others.

One other soon-to-be-famous identify crossed Monir’s path when she began her first foremost job as a trend illustrator with division retailer Bonwit Teller. His identify was Andy Warhol, who was then working as a shoe illustrator.

“Dialog was not his robust swimsuit,” she stated, “however we made a connection regardless of his ghostly shyness.”

That connection was made once more years later when Warhol travelled to Iran to color the Shah and his spouse. Throughout his journey, he gave Monir the reward of a Marilyn Monroe print.

Artist Andy Warhol next to Picture copyright
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Warhol subsequent to his “Princess of Iran” in 1977

Love – or a minimum of the prospect of it – took Monir again to Iran in 1957, within the guise of Abol Farmanfarmaian, a person of aristocratic background who had babysat for her first daughter in New York.

With Monir’s divorce to her first husband finalised, she was cautious, however welcomed the return to an evolving Iran 12 years after leaving. Simply as the colors of Iran had by no means left her work of flowers, as her academics famous, all her completely satisfied recollections of her homeland had remained in place.

“I sat in a jet-lagged stupor and drank within the smells of dwelling,” she wrote, “the sooty fragrance of kerosene heaters with overtones of dill, parsley, fenugreek and fragrant rice that hinted at lunch, and the sourceless, ever-present thriller of rosewater. No, this was not New York. I used to be dwelling.”

It was throughout this era again dwelling, and through her lengthy and completely satisfied marriage to Abol, that Monir flourished as an artist, starting along with her successful a gold medal for her show on the Iran Pavilion within the 1958 Venice Biennale.

Triangle, by Monir Shahroudy FarmanfarmaianPicture copyright
The Third Line

Monir had seen mirror mosaics earlier than that day within the mausoleum in Shiraz – the type had been used elsewhere in Iran – however none had affected her in fairly the identical method. There was a sensible motive for the type: centuries in the past, mirrors that had been imported from Europe had usually damaged by the point that they had arrived, and they also had been reused.

The type inspired Monir to experiment: with shapes, with geometry, with constructing photos up from their smallest fragments. Hexagons, the form she later known as “the softest type” that opened up an increasing number of potentialities to hyperlink shapes, started to characteristic prominently in her work.

“I learn up on Sufi cosmology and the arcane symbolism of shapes,” Monir wrote in A Mirror Backyard, “how the universe is expressed by factors and features and angles, how type is born of numbers and the weather lock within the hexagon.”

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Monir’s analysis took her throughout Iran and her curiosity about her nation grew.

She started studying from Iranian craftsmen educated in slicing mirrors like butter and in kneading plaster to make it pliable, and hung out with Turkmen silversmiths, studied an historic observatory and labored alongside archaeologists. This week, certainly one of Monir’s common exhibitors, the Third Line gallery in Dubai, stated she would all the time be recognized for her “eternally younger and curious spirit”.

Through the years, Monir turned an avid collector of positive silverwork and people artwork from throughout Iran, shopping for 1,600 work on glass from artists throughout the Gulf.

However a lot of it might be misplaced years later, together with Monir’s personal work and her Warhol print, as revolution swept Iran.

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The Shah, Mohammed Reza Pahlavi, had led Iran by a programme of modernisation and Westernisation, however in doing so, he had alienated highly effective non secular and political forces.

After months of protests and strikes, the US-supported Shah and his household had been compelled to go away the nation in January 1979. Two weeks later, Iran’s foremost non secular chief, Ayatollah Ruhollah Khomeini, returned after 14 years in exile.

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Media captionIranian Revolution: Why what occurred in Iran 40 years in the past issues

Abol and Monir watched the Shah’s fall from New York, conscious that Abol’s aristocratic background would make a return to Iran virtually unattainable.

A lot of what they owned was now gone, they knew, as houses had been seized by the authorities. “The most effective antiques and carpets discovered their method into the mullahs’ houses,” Monir wrote.

“Have been my mirror mosaics hanging now on some mullah’s wall?” she puzzled. “Greater than the rest, I regretted the lack of my drawings, not simply because these sketchbooks had adopted me all by my life, however rattling it, they had been actually good.”

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Many of the final 40 years of Monir’s life had been spent in New York, and finally noticed her work flaunted to bigger and bigger audiences. The largest problem she needed to overcome, she informed the Guardian in 2011, was getting folks to view Iran otherwise.

“In America, after the revolution, after the [Gulf] warfare, no one needed to do something with Iran,” she stated. “Not one of the galleries needed to speak to me. And after September 11 – my God. No method. Slightly than being a lady, it was troublesome simply being Iranian.”

Monir Farmanfarmaian in her workshop in TehranPicture copyright
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Monir Farmanfarmaian in her workshop in Tehran

After Monir’s dying, Center East cultural historian Shiva Balaghi wrote that Monir and Abol would usually stroll by the Guggenheim Museum in New York because it was being constructed within the late 1950s. Sooner or later, Monir informed Abol, she would exhibit her artwork there.

That day got here in 2015, with certainly one of her largest exhibits but, Infinite Risk. Abol, with whom she had one other daughter, was not there to witness the present, having died of leukaemia in 1991.

There was time for one final transfer again to Iran, the place Monir continued working with the craftsmen she so valued.

She was vital of the path the nation was taking, telling the Guardian in 2011 it was changing into “extra devilish and extra terrible” with “these silly Islamist issues”. One work, Lightning for Neda, was produced in tribute to a younger Iranian lady, Neda Agha-Soltan, shot useless throughout protests in 2009.

However her work had a receptive viewers in Iran, and in 2017 the Monir Museum – the primary Iranian museum devoted to the works of a feminine artist – opened in Tehran. It was right here that a memorial to Monir was held by her mates on Thursday.

“All my inspiration has come from Iran – it has all the time been my past love,” she stated when the museum opened.

“Once I travelled the deserts and the mountains, all through my youthful years, all that I noticed and felt is now mirrored in my artwork.”

Monir FarmanfarmaianPicture copyright
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