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Albert Bitran (1929 -2018) Click for Artist Information
"Naissance d'un Paysage"
AN IMPORTANT ABSTRACT WORK FROM ALBERT BITRAN'S EARLY PERIOD...
THIS WORK WAS EXHIBITED AT THE FIAC ART FAIR IN PARIS IN 1980...
ALBERT BITRAN'S ABSTRACT PERIOD OF THE 1950s...
This 1957 work by Albert Bitran belongs to the formative period of his move from geometric abstraction toward a more expressive and intuitive visual language. Rooted in the ethos of the École de Paris and informed by the legacy of constructivism and cubism, Bitran's early abstractions reveal a deep concern with structure, balance, and inner rhythm. While still engaging with geometric forms, this piece foreshadows the gestural freedom that would define his later lyrical abstraction. Shapes interlock, overlap, and break apart in a dynamic interplay of form and space, echoing both architectural discipline and a growing desire for emotional immediacy. Executed just a few years after his arrival in Paris, this painting reflects Bitran’s emerging artistic voice, intellectually rigorous yet increasingly personal, and foundational to the unique visual language he would develop in the decades to follow.
Oil on canvas
150 x 150 cm
1967-1968, signed
Estimate: 350.000 TL - 500.000 TL
Starting Bid: 220,000 TL
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Nasip İyem (1921 - 2011)
Nasip İyem (1921 - 2011)
The artist was introduced to ceramics thanks to her mother's cousins who were potters in Gönen, where she spent her childhood. She received her first art education at the Fatih Community Center. In 1939, she entered the Painting Department of the Istanbul State Academy of Fine Arts and worked at the Leopold Levy Studio. After marrying the painter Nuri İyem, she turned to abstract painting. She opened her first personal exhibition in 1955. She started working at the Eczacıbaşı Ceramic Studio in 1958. She won a silver medal at the Prague International Ceramics Exhibition in 1962. She established her own studio in 1963. In 1972, she represented Turkey at the International Ceramics Symposium in Bassano del Grappa, Italy. Her works; It was exhibited in Milan, Paris, London, Munich and Vienna, and was accepted to the University of Nebraska Art Collection and the Bassano del Grappa Museum.
Although Nasip İyem received her art education in painting at the Levy Studio, she showed her main artistic activities in the field of ceramics and achieved a unique style and expression on this path.
Painter and ceramic artist Nasip İyem's figurative ceramic sculptures reveal various states of the fertile, productive Anatolian woman. The motherly woman who tightly embraces her child, the pregnant and tense, painful woman about to give birth, the sad woman with her hair tied, covered with a headscarf, the lamenting, wailing woman, the praying and pleading woman, in many different states, reflect the woman in the Anatolian countryside and the true feelings of that woman. Among these, the elements in which the woman's sense of motherhood dominates are at the forefront.
Belma Aksun talks about Nasip İyem's works reflecting the Anatolian woman with the following words; “You see thoughtful, anxious faces in Nasip İyem’s women. They carry motherhood as if it were a burden, not a happiness. Tired and distant looks on young, smooth faces… You feel that they are a part of you, of these lands, and that you are a part of them. You hear the seasonedness of the Anatolian land, the warm heartbeats of our people, our mothers, sisters, and wives in the terracotta works.”
Setting out with the understanding of ‘Art is everywhere’, Füreya Koral made approximately two hundred and ten coffee tables to be used in the Turkish Grand National Assembly together with the students she trained in the workshop she founded. Nasip İyem also took part in the event in question.
Source: Ankara Painting and Heyvel Museum
