MOHAMMED AL RESAYES
BEDOUIN FAMILY II
signed M. Resayes in Arabic and dated 2015; signed, titled and dated in Arabic on the reverse
oil on canvas
100 by 150cm.; 39⅜ by 59⅛in.
This work is in fair condition. The canvas is slack and would benefit from restretching. The paint seams not to be completely dry, perhaps the varnish was applied too early as the surface remains slightly tacky and soft. The raised impasto areas are very soft. The surface of the paint was covered with bits of white polystyrene which was used to protect the front of the painting and it got attached to the surface in some places affecting the surface of the impasto being pressed and damaged. There was restoration done on the work prior to the sale where the white bits of polystyrene were removed adjusting the texture and sheen of the areas where damaged and the spots of surface losses were retouched and varnished. The restoration is only visible under UV light.
The catalogue illustration is accurate; however, there is more shine to the overall tonality in the original work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Collection of the artist, Saudi Arabia
Acquired directly from the above by the present owner
Mohammed Al Resayes began to paint and draw in 1973 in high school in Riyadh, before travelling to Cairo to further nurture his paintings abilities. At this stage he based his technique on a close study of the art of impressionist painters. He was attempting to integrate the brushstroke techniques of Impressionism with the contracted, reassembled space of Cubism, depicting sceneries reminiscent of his rural background.
In the 1990s, Al Resayes became involved with the emergent expressionist movement of the Saudi pioneers who preceded him. On his return to Riyadh, he worked at the King Saud University as an art teacher, and became the president of the Art Department a few years later. Among the large-scale paintings on which he worked are Waiting for The End (1985), Falcon and Spindle (1985) and his series Architectural Elements (1982), which all revolve around exile, pain and misery. The style of his works, particularly the composition of figures in space in Borrowed from Tradition (1980), owed much to the cubic style.
Like many of his contemporaries, beyond his thrive to contribute in the building of the Saudi art stage, Al Resayes spent his life developing an aesthetic sensitivity and vision out of the diverse range of abstract influences that challenged artists of his era. In the 1980s he constructed a private mythical world, pouring into the canvas his acute awareness of the ongoing debate that opposed tradition to modernity, in his attempt to conciliate the everlasting and the transitory. Towards the end of his career, his style met a radical shift and evolved into single dark images embedded in a morass of obscure paint, confounding the Saudi art stage with a new figurative style and a personal iconography.