Search engine giant Google (Google) today celebrated the birthday of Algerian artist Mohamed Racim, who is considered one of Algeria’s most famous painters and is seen by critics as a revival of the art of miniature decoration.
And Google has placed on its home page a drawing showing the late artist holding his paintbrush, as part of a picture drawn in the style of miniatures.
Mohamed Rasim was born on June 24, 1869, in the Kasbah district of Algiers, Algeria, into an old family who had a history of plastic art.
Critics describe Mohamed Rasim’s works as precise and patient, as well as poetic and aesthetic in expression, in addition to the right choice of colors. He is considered one of the most important and important miniature artists of the twentieth century.
Rasim has long worked as a professor at the Institute of Fine Arts, and his miniatures have been collected in several books, including Islamic life in the past. Rasim also laid the foundations for the Algerian miniature school, and he has been credited with training many generations of students who are bearers of his art who have preserved and enriched this art.
After Rasim won the Grand Prix d’Art for Algeria in 1933, in addition to the Order of Orientalists, his works have been exhibited all over the world, and he has several works in world famous museums.
Artist Mohamed Rasem and his wife died in the town of Al-Abyar in 1975 at the age of 79 under mysterious circumstances, the causes of which are not yet known, according to Wikipedia reports.
Consolidation of Arab memory
Muhammad Rasim was well versed in various styles of miniature painting and well versed in its history. He often gives titles to his paintings, such as Persian style or Egyptian style, depending on the style he uses, according to what Emma Chubb writes in the Encyclopedia of the Museum of Modern Art and the Arab World.
The writer Chubb recalls that the artist Rasim, in the last period of his artistic career, said in his description of his works that he wanted to consolidate the memory of Arab culture, which was quickly distorted by French colonialism.
Art historian Roger Benjamin considers that Rassem deliberately used the imperfect and relatively altered perspective in order to assert his Moorish identity and elevate the imitation of miniatures over European models. At the same time, notes Roger Benjamin, his paintings testify to his keen understanding of local gestures and costumes and rewrite shameful Orientalist painting methods, Chubb reports.