Aesthetics of composition in Jabr Alwan’s drawings

Abstract

Research summar

First, this research is concerned with studying (the aesthetics of composition in Jabr Alwan’s drawings) by monitoring the artist’s expressive experience. It consists of employing artistic elements and foundations and how to formulate them in the painting with a new and different (aesthetic) vision.

The study included four chapters, the first of which was devoted to the problem of the research and an explanation of its importance, the need for it, and its goal, which was limited to identifying the aesthetics of composition in Alwan algebra drawings, within time limits that extended between 1975 - 2010. The chapter ended with identifying and defining the research terms.

As for the second chapter, it included three sections. The first section included two axes, the first of which dealt with (aesthetics conceptually), while the second section included (artistic composition), and the second section covered in its first axis (composition in the arts of modernist schools), While the second section was devoted to dealing with (composition in the arts of contemporary Iraqi drawing), while the third section included (the aesthetic theses of Jabr Alwan), and the second chapter ended with indicators of the theoretical framework and previous studies. As for thethird chapter, it began with collecting paintings by the artist (Jabr Alwan), which represent his aesthetic expressive direction. And ending with what was analyzed as models for the research sample, which numbered (5).

The fourth chapter contained the results, conclusions, recommendations and proposals, and the most important results reached by the research are:

1. Jabr did not rely on line to define shapes, but rather the element of color had a major and aesthetic role in embodying shapes and elements. Therefore, line had a secondary, auxiliary role in the painting. This was shown in the research sample models (5,3,2).

2. The artist used color boldly and frankly in his beautiful expressive paintings without prestige or fear. This also appeared in all samples of the research sample.

Based on the results reached by the researcher, we find a set of conclusions as follows:

1. Color is not subject to the subject in (algebra) drawings; Rather, it is subject to the will and freedom of the artist himself, and therefore the element of color for the artist forms an artistic presence with an aesthetic impact.

2. The progress and development in the use of ready-made manufactured materials and colors had an important shift in the course of the arts through diversity and transformation in performance, style and aesthetic aspects, which had a great and influential resonance in the artist’s expressive drawings.

The research concluded by presenting the sources in Arabic and English.