Seif Wanly

Condition: This work is in good condition. There is a 2.5cm. mark approximately 8cm below the upper left corner. There are three spots of dirt, one towards the upper right corner and two above the centre ballerina. There is no restoration apparent under the ultraviolet light. Colour: The colours in the catalogue illustration are accurate; however, the overall tonality is richer in the original work.
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Seif Wanly, alongside his brother Edham Wanly was part of the burgeoning art scene in Alexandria from the 1940s through to the late 1960s.

One of the foremost Egyptian artists of his time, Seif Wanly was the first to open a practicing studio in 1932. Whilst Edham was preoccupied with daily life and the nature which surrounded him, often painting sea views which were a focal point for Alexandrians, Seif Wanly was arguably more inspired by the human form.

The two brothers studied under the tutelage of Alexandrian based Italian artist Ottorino Bechi. Unlike Edham, whose artwork lay solely in depicting landscapes, Seif studied and explored an extensive variety of themes throughout his artist career. He accomplished a thorough exploration of an assortment of subjects throughout his oeuvre, from still life, to landscape, to figurative; however, the majority of Seif Wanly's artworks are devoted to the movement and energy emitted from the human body. Much like Edgar Degas (1834-1917), Seif was fascinated by ballet dancers and could often be found backstage at the European productions of famous ballets in Alexandria sketching the performers.

Unlike Degas, who referred to himself as a Realist, Seif preferred to convey movement and emotion through Expressionism. When utilising this painting style to depict his figures, Seif generates the energy of dance: the twirling motion of the ballerinas’ bodies illuminated by moonlight against the expansive backdrop of the night successfully encompasses this atmospheric performance. The spinning energy of his figures blurs their features, whilst the sharp treatment of their hands and feet suggests a dynamic rapidity that is evocative of performance. Via his painting, Seif initially explored themes and influences of Impressionism and Cubism, later immersing himself in the manner of Fauvism.

In the present work, we see an exemplary portrayal of Seif’s distinctive painting style.  His ethereal ballerinas are illustrated with vibrantly contrasting shades of colour. He enhances his haunting figures by encircling each individual with concentric glowing circles. These iridescent rings serve as a platform to highlight the simplicity and abstraction of the dance itself.

The famed Egyptian art critic Aime Azar, when comparing Seif and Edham's oeuvre, commented, “Whereas Edham had concrete and defining lines; Seif excelled and surpassed his brother focusing on the themes of the ballet and the circus. Seif was able to demonstrate the simple effervescence of the subject with subtle brushstrokes and emotive movements.”

Untitled is a magnificent artwork and an iconic painting from Seif Wanly’s extensive oeuvre. The larger size of this piece makes it an exception to Seif’s usual smaller works. The medium of this painting, which is panel, also sets this work apart. Untitled elegantly embraces and evocatively depicts Seif’s most notorious subject and inspiration, the spirit and energy of dancers and music. Unique in both size and material, this art piece by Seif Wanly is a quintessential painting for an avid art enthusiast's collection.