Art and tradition
The painting under glass was born in the fourteenth century on the Mediterranean basin. Very widespread in Tunisia, it has been perpetuated until our days. According to the most common version, this popular art would have been brought by Turkish portraitists. However, the Syrian-Egyptian influence dominates in its Tunisian version. Local painters do not hesitate to represent characters from Muslim history despite the prohibitions, which would reveal the influence of Christian painters. The painting under glass is also close to the Persian traditions that appeared in Iraq in the illustrations of the thirteenth century. This tasty mixture of Eastern and Western inspirations quickly gave rise to a specifically Tunisian style. Naïve and colorful, it readily retains its religious character: scenes from the life of the Prophet Mohammed, the conquest of Ifriqiya by the Muslims among other themes.
The painters under glass considered themselves more as craftsmen. Thus, the arrival of the easel painting was not always perceived with a very good eye. The posture of the Western painter, standing like a master observer of the world, had difficulty entering into the customs. This does not prevent these two attitudes from coexisting and even from being renewed.
Recently, several artists are rejuvenating this traditional art by introducing abstraction. At their head, Youssef Rekik (1940-2012) combined Arabic calligraphy, oriental mythology and abstract motifs. Also a man of the theater, he remains a major figure of Tunisian culture.Hédi Khayachi
Born in 1882 in Tunis, Hédi Khayachi is considered the first professional Muslim painter in Tunisia. His interest in painting led him to Paris, where he trained in the academies of Montparnasse and then to Rome where he specialized in portraits before touring European museums.
In 1908, he became the official portraitist of the Husseinite court. In addition to his figures of high dignitaries, Khayachi painted landscapes and scenes of traditional life in which he paid tribute to women. He represented Tunisia in many international cultural events. At his death, he left numerous works that were completed by his son, the painter Noureddine Khayachi.The Tunis School
Khayachi frequents avant-garde artists such as Pierre Boucherle (1894-1988), Tunisian orientalist and landscape artist. In Paris, Boucherle rubs shoulders with Modigliani and Derain before continuing his artistic studies in Spain. He returned to Tunisia after the Second World War. There, he founded the Group of Four, which developed into the Group of Ten which was renamed the School of Tunis. This movement is characterized by the combination of popular subjects and a magnified reality.
Among the nudes, landscapes and still lifes painted by Boucherle, The Mill of La Goulette
remains his most famous work.The School of Tunis wanted to be open to all young local talents. It welcomed Ali Bellagha, Maurice Bismouth, Hatem El Mekki, Ammar Farhat, Jules Lellouche, Moses Lévy, Edgard Naccache and Yahia Turki. From 1960, two trends emerged within the movement: a group that claimed to be Paul Klee and the other attached to kufic calligraphy. The following decade was marked by an abstract branch. Numerous women developed a fine career within the group, combining modernity and Tunisian particularities. Safia Farhat (1924-2004), painter, ceramist and upholsterer works for the reform of art education in Tunisia and the defense of women's rights. The Safia Farhat Museum was opened in Rades, her hometown where she lived all her life.
Hatel El Mekki (1918-2003) is probably the most famous Tunisian artist. Noticed at a very young age for the skill of his line, he remains known for his caricatures, banknotes and the 500 stamps he drew for different countries of the world. As a painter, mosaicist and poster artist, he has often exhibited in Tunisia but also in Beijing, Washington or Berlin.Contemporary art
In Tunis, about fifteen galleries show an art accessible to all. They are a counterpoint to the more selective galleries in the northern suburbs of Tunis. Between these two poles, places of creation defend an alternative art in the country. The Central Tunis space, the B7L9 station, Dar Sebastian or Villa Sebastian
are perfect examples. Dedicated to contemporary art, the Espace Central Tunis makes all audiences aware of new artistic proposals. Recall that the revolution of 2011 was followed by a phase of gloom. But in recent years, artists from all walks of life want to make their voices heard.On the outskirts, the B7L9 station
brings contemporary art to the heart of the popular neighborhood of Bhar Lazreg. In order to get closer to the residents, the place favors affordable art, combined with traditional crafts: storytellers and bakers are associated with visual artists. Despite these initiatives, young artists find it difficult to exist in Tunisia. The principle of artists' collective and the cultural policies are cruelly lacking. Moreover, Tunisia has one of the largest art collections in the Arab world, with 12,000 works. The only problem is that they are not accessible to the general public.Calligraffitis
The French-Tunisian graffiti artist eL Seed is the creator of calligraffiti, a sign that combines Arabic calligraphy and graffiti. Born in France in 1981, he undertook to cross Tunisia during the summer of 2013. Along the way, he stops to adorn the abandoned walls of the country with calligraffiti. Images from his road trip are collected in "Lost Walls" a book filled with moving images. His goal is to change the image of Tunisia in the world by recalling the richness of its heritage.
It is also through the landscape that the photographer Douraïd Souissi deals with social, political or historical issues. His work highlights marginalized regions such as Kef, Siliana and Kairouan. Born in 1979 in Tunis, he studied in the United States before returning to his hometown. In 2006, he held his first solo exhibition and participated in numerous international events such as the Rencontres d'Arles and Expo-Talan in Tunis
