- 19
Bahman Mohassess
Description
- Bahman Mohassess
- Untitled
- signed and dated 69; signed and dated 1969 on the reverse
- oil on board
- 92 by 72cm.; 36 1/4 by 28 3/8 in.
Provenance
Catalogue Note
After the fall of the political figure Mossadegh, Mohassess left Iran and travelled to Europe to study art; particularly compelled by the Old Masters, he began to radically develop his painting style. Despite several attempts to establish himself in Italy his works were overlooked by the Italian milieu, which was keenly felt by the artist. He recorded this in a letter to fellow painter Sohrab Sepehri explaining the solo exhibition in Rome was disappointing as collectors were cautious of his longevity on the art scene due to his ethnicity. In his surrogate location, Mohassess felt greatly restricted by his Iranian identity, this cultural constraint plagued his career and manifested itself in the isolated characters depicted in his works. He travelled twice to Iran after the revolution but had trouble adjusting due to his forward thinking and modern aesthetic. In response to his cumulative frustrations, similar to his British contemporary, Francis Bacon, often paralleled to Mohassess, methodically destroyed a large body of works after publishing an extensive Catalogue Raisonée; explaining why his market is restricted and availability of works is so scarce. This act of defiance communicated his disdain for the Iranian population at the time, who often worshipped individuals but did not celebrate or allow for individuality.
His early compositions followed the archetypal rules initiated by Cubist artists however when further developing his style, Mohassess began to paint abandoning formal perspective, instead absorbed in defining space and sentiment within his canvases; successfully producing emotionally charged paintings. The present work affords a window into the isolated nature of Mohassess' disposition. It effectively presents the unique method of expression embodied in his works, employing his characteristically subdued palette, pared down geometric form and the iconic fish character. Mohassess never sought to create beauty; rejecting it, he believed in ugliness instead. He sought to revolutionise artistic trends, in its place portraying a realistic and raw aesthetic. It is perhaps this rejection of accepted norms that fuelled his hermitic lifestyle.
Bahman Mohassess is a legendary figure for modern Iranian art history. When compared to his peers he was executing cutting edge works whilst most were still consumed with calligraphic compositions. His unique style was comparable to the modern artists in Europe at the time. His works are self-referential and predominantly influenced by his personal psyche. The present work is a classic example of Mohassess at his most fascinating; the psychology of his art, the power of his canvas and the life-style that motivated him encompasses this emotive yet subtle subject matter. Undoubtedly one of the most important and sought after artists from Iran, both the Tate and the British museum have recently acquired several gouaches and works on paper respectively, a well-deserved acknowledgment of this brilliantly avant-garde artist.