Personal Info
- Country of residence: Palestine
Information
The Palestinian visual artist, Dr. Abdul Rahman Al-Muzain, was born in Al-Qubaiba, Ramla District, occupied Palestine in 1943. He graduated from the Department of Drawing and Painting at the Faculty of Fine Arts at Helwan University, located in the Egyptian city of Alexandria, in 1966, holding a Bachelor’s degree with distinction, then he obtained a Master’s degree with distinction. Imtiaz also in 1970, and he obtained a state doctorate (p.h.d.) on secular art in the antiquities of Palestine from the University of Khartoum in Sudan in 1993. He initially worked in the profession of teaching arts, and was involved at the same time in the machine of Palestinian union and political struggle within the corridors of Palestinian popular organizations. He assumed various tasks in the fields of political guidance and media in the Palestine Liberation Organization, the Palestine Liberation Army, and the Fatah Movement.
He is a founder and leader of a group of trade union and professional federations and fine art groups and groups, such as the General Union of Palestinian Plastic Artists since 1970, and the General Union of Arab Plastic Artists in 1971. He was elected as its Secretary-General and then acting secretary between the years 1987 - 1989, and founded the Land Artists Group for Fine Arts. Since 1980, he assumed the duties of Secretary of the Palestinian Plastic Artists Union since 1979, then served as Secretary General of the Union since 1991. He also served as Head of the Cultural Program of the Palestine Liberation Organization in Africa in 1984, and the author of a collection of books on the arts and Palestinian popular heritage, which amounted to He wrote about twelve books and manuscripts between 1970 and 2003, and he had many individual and group contributions inside and outside Palestine. Dozens of posters and postcards were printed for his artwork.
The artist “Al-Muzain” is considered one of the pillars of contemporary Palestinian visual art and one of its pioneers, due to his academic, professional and political union status, and the abundance of his artistic production with multiple features, technical characteristics and themes. The audience, writers, and followers of Palestinian fine art have become accustomed to the abundance of its production in various fields, whether in the fields of drawing, photography, engraving, political posters, fine artistic writing, and on the topics of art history, Palestinian popular heritage, and the fields of comparative art. His heritage books and artistic works found academic scholars with rich material and intellectual, visual and historical references of scientific and professional value.
The topics of armed Palestinian resistance, the status of the symbolic guerrilla in the visible and mythical reality, the issues of Palestinian popular heritage and the position of women in it as a resistor and an artist, are main titles and essential areas of expression inherent in all of his artistic works, and serve as his visual supply and intellectual source from which he draws his visual memory, which expresses the manifestations of the place. The resisting human and Palestinian person, who is plastered with the dust of the earth, the harvest of suffering and the paths of Palestinian suffering, and the responses of the national resistance in the many places of struggle inside Palestine, and from the refugee camps in Syria, Lebanon, Jordan and elsewhere, are suitable subjects for weaving his narrative epics scattered on the canvas of paintings at times, and on the surfaces of artistically treated paper at times. In many cases.
The Palestinian heritage and guerrilla dress, whether male or female, small or old, are elements and plastic vocabulary necessary to achieve its visual significance, giving it a remarkable intellectual substance and a technical formulation governed by the specificity of the personal treatment of its colors and lines. His skillful hands and artistic insight transform them into legendary symbols reproduced from a Palestinian reality. Ma’ish, connected to the phoenix of ashes and the symbolism of death, birth, renewal, the perpetuation of life, and challenge and resistance, haunted by repeated sayings about the Palestinian people as a people of the mighty, conveys these surreal symbolic visions of ideas through his ever-renewing formal texts, keeping up with the Palestinian event and its debates, recording his sad and happy diaries in an expressive way full of privacy. Composition and formal synthesis.
Realist expressive trends and symbolic expressionism in art are his favorite field of visual description and composition. He formulates what is on his mind, the orbits of his personal feelings, and his observations and experiences of Palestinian realities in texts brimming with aesthetics and humanization, and full alignment with his own choices as an artist and resistance fighter on the fronts of art, writing, and culture. Its symbols and described elements evoke all the manifestations of Palestinian popular life, in the field, the countryside, and the city, and on the battle fronts and in direct confrontation with the Zionist enemy. They take the centerpiece of the Palestinian decoration and embroideries, which are busy and scattered over the surfaces of dresses overflowing with their aesthetic and formal codes, making them a visual theater for composing formal scenes full of harmonious distortions. And the frequent occurrence of those decorations and embroideries haunted in the oasis of his engraving drawings and figurative paintings.
The Palestinian women who struggle on the front lines of creating life and hope and raising children on the values of war of existence, pride and steadfastness, and the women who wear the Umrah weapons of combat and resistance, find room for them in his visual texts for a story here and a symbolic tale there. It appeals to the aesthetics of the symbolic situation and its significance in the eyes and mind of the recipient. He creates visual paintings governed by the music of linear and color monotony, balanced by color intensity and overlapping shapes, which preserve the artist’s privacy, technical style, and high artistic ability to combine his vocabulary and build a wall of his formal uniqueness, preserving the paths of organic unity and harmony between all his formal pieces.
The Palestinian cities are present in his drawings and paintings, preceded by the bride of cities and its flower, the city of Jerusalem, full of its people, monuments, monuments, paths, ancient houses, mosques and churches, and its silent and declared resistance against all forms of racist Zionist Judaization, confiscation and displacement, remaining steadfast with its ancient history and its place in the hearts of Arabs and Muslims. The artist includes it in the umbrella of his expressive manifestations with a striking multi-technical visual language, which contains balanced visual equations between the realistic meaning of the characters, the symbolic crossings, the keys to the legendary description of the places, the imperatives of geography, history, and fleeting time, and the Palestinian women who are integrated with the concepts of land and mother as two aspects of one word, which is Palestine. Homeland, citizenship and history, the prohibitive university from which and around which fighters reproduce.
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