336:. Georges Henein submitted a work titled "The Murdered Poet." This would be the first and last time Henein exhibited a work of art since he was, first and foremost, a writer. Most of the artists exhibited were under thirty years old and many of them under twenty-five. The first show represented a fresh, new approach to art that had not yet been seen by the Egyptian public. Their show was described as a "violent revolution against order, beauty, and logic." Ahead of the show's opening, nearly ten thousand pamphlet invitations were distributed in order to attract the largest number of "educated youth." The group continued this practice of distributing large numbers of invitations for their other group shows. In one of the pamphlets, entitled "We Are Still in Turmoil", Ramses Younan published his translation of Arthur Rimbaud's "A Season in Hell."
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1938 to give a lecture on
Futurism at Les Essayistes literary club in Cairo on March 24. Henein, Jean Moscatelli and Georges Santini were in attendance and caused an uproar in opposition to what Marinetti preached. The night quickly descended into chaos, and Henein, Moscatelli, Santini (and other writers later involved with Art et Liberté) eventually broke away from their associations with Les Essayistes club, which they had been involved with for several years, due to the club's gradual alignment with Marinetti and fascism.
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wished to stifle them. Before its opening, a new journal was published to accompany the show, stating: "This show has exceptional value, in that it includes for the first time the works of some of the eminent artists of Syria and
Lebanon. This is a new and gratifying indication of the connection between artists of the sister lands."
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The show was celebrated for exhibiting works which primarily dealt with themes and subjects of the working class, a far cry from the elitism of academic art. "The Labour" newspaper wrote: "The themes of this school are for the most part the working classes... the disciples of this school avoid themes
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The
Egyptian surrealists adopted the term “degenerate” as a badge of honor. The term was originally used by the Nazi Party as a way to ridicule art that they felt stood against the fascist ideals of the state. In 1937 the Nazis held the “Degenerate Art Exhibition” which displayed works of modern art.
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The fourth show, titled "For
Independent Art," was held on Friday May 12, 1944 in the dining hall of the Lyceé Francais School on Hawayaty Street in Babelouq, Cairo. It lasted till May 20 or 22, 1944 and exhibited 150 works of art including painting, sculpture and photography. The art critic Richard
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Their second show was held the year after, in 1941. It was more conceptual and experimental compared to the first show. The interior was described as such: "Pots of paint and plaster were scattered here and there... Fastened on the walls were hand silhouettes pointing towards an open door from which
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Art and
Liberty's third group show opened on Thursday May 21, 1942 and continued until May 30 at the Hotel Continental in Cairo. Ahead of its opening, Georges Henein wrote an article titled "Message of Free Art" in which he encouraged the modern artist to persist in the face of fascist regimes that
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The second show had more contributors than the first show, and even included a photography section. Artists exhibited included: all the artists from the first show, Raymond Abner, Laurent Marcel
Salinas, Eric de Nemes, Anne Williams, Arte Topalian, Mme Behman, Amy Nimr, Hassia, Mrs. Baroukh and Abu
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was included in its first printing. The manifesto called for free expression, which they felt was being threatened by fascist governments and growing nationalism. It urged artists and writers to embrace the title of "Degenerate" art in the face of nationalism. It was first published in both Arabic
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Marinetti was born in
Alexandria, Egypt which, at the time, had a large Italian population. He left to attend the Sorbonne in Paris but eventually returned for the first time in 1930 to give a series of lectures on Futurism to the city's Italian-Egyptian community. He returned for a second time in
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The show was met with harsh reviews, particularly on the part of Jean Bastia, who described the show as childish and accused its organizers of not taking the show seriously. However, the larger Cairo public enjoyed the show's ingenuity and considered the show a success. Mohammed Sadek wrote: "The
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and ancient Egypt. Their work has been revered as the epitome of an
Egyptian national style and they were considered "national heroes". Art and Liberty formed in opposition to this nationalist sentiment which was growing in early twentieth-century Egypt. From 1881 until 1952, Egypt had been under
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Artists exhibited included: Mahmoud Sa'id, Fathy el-Bakri, Fouad Kamel, Samir Rafei, Saad el-Khadem, Rateb Sidik, Angelo de Riz, Suzy Green, Art
Topalian, Idabel, Hassia, and the Surrey brother who contributed photographs. As well, it was Ramses Younan's final exhibition with the Art and Liberty
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The fifth and last group show organized by Art and
Liberty was held on Wednesday May 30, 1945 and lasted through June 9th. This show is described as being "simpler and less peculiar" than their previous shows, possibly foreshadowing the disbanding of the group only a couple of years later.
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opening was gratifyingly successful, to the point that we consider the Cairene public, which is accustomed to academic art of greater artifice, took genuine notice of this show. So we must heartily congratulate Mr. Georges Henein, the instigator of this group of youths."
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British occupation. A nationalist sentiment was brewing at the time which started out as being anti-British but eventually became anti-foreigners. This ultimately harmed the Art and Liberty group, since most of its members were either foreign-born or children of
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loud humming was escaping." The exhibition was constructed like a maze, "set up in the shape of a mysterious passageway." Paintings were hung on the walls in unorthodox ways with clothespins and a hangman's noose.
187:("Long Live Degenerate Art!"); it carried thirty-six signatures. The group adopted the term "degenerate" as a badge of honor. It was originally used as a demeaning term by Germany's Nazi Party in the
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Thirty artists participated. New artists included: Ibrahim Masoud, Lutfi Zaki, Kamel Youssef, Aziz Riad, Edwin Gallahan, Robert Meadley, and Kenneth Wood. The photography section included: Khorshid,
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Group. Samir Gharieb explains that not all of these artists were "surrealist" artists. Instead, what tied them together "was the belief in and practice of the spirit of freedom and renewal in art."
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manifesto aligned itself with the modern artists whose work was being seized, censored and/or destroyed by the Nazi Party. Such artists mentioned in their manifesto include
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Over 700 artworks that had been confiscated and seized by the Nazi Government, mainly Cubist, Dada and Surrealist, were shown with derogatory slogans painted on the walls.
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Artists exhibited included: Georges Henein, Ramses Younan, Kamel el-Telmissany, Fouad Kamel, Aida Shehata, Mohammed Sadek and Angelo de Riz, with a contribution from
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exhibition as a way to ridicule modern art. The manifesto was translated into French and English. The latter edition was published in the surrealist magazine
771:""Dirty Dark Loud and Hysteric": The London and Paris Surrealist Exhibitions of the 1930s and the Exhibition Practices of the Art and Liberty Group in Cairo"
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813:
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Their first show was held at the Nile Gallery in Suliman Pasha Square in February 1940. The show was named "Independent Art" in reference to the "
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What distinguished Art and Liberty from previous Egyptian art movements was their embrace of cosmopolitanism and universalist ideas. Artists like
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James Gifford (2015). "Late modernism's migrations: San Francisco Renaissance, Egyptian anarchists, and English post-Surrealism".
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have become known for their artwork which depicted local Egyptian life. They often employed nationalist symbols of the
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The group was officially formed on 19 January 1939, and brought together Henein and other Cairo Surrealists, such as
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and French, which further established the group's cosmopolitan stance and their influence in European Surrealism.
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Over the course of their ten-year run, Art and Liberty organized five group shows and individual one-man shows.
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216:. Nearly one year after its establishment the group launched a monthly literary and cultural magazine,
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Alexandra Dika Seggerman (2014). "Mahmoud Mukhtar: 'The First Sculptor from the Land of Sculpture".
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praised the group for pulling off the exhibition despite several obstacles that stood in their way.
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Most of the group's members were not Egyptian-born but foreign "Egyptianized" residents known as
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The group's initial formation was sparked by Henein's encounter with the Italian Futurist
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222:(Arabic: The Development), in January 1940 which would exist only until July that year.
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Members of Art et Liberté at their second exhibition of independent art, Cairo, 1941
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Historians, State and Politics in Twentieth Century Egypt: Contesting the Nation
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of the privileged classes with their sumptuous halls, luxuries and fineries."
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When We Were Modern: Egyptian Surrealism: a Case-study in Global Modernity
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155:; English: Art and Liberty Group, Art and Freedom Group) was an Egyptian
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Throughout its lifetime the group published the following periodicals:
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581:"Al-Tatawwur (Evolution): An Enhanced Timeline of Egyptian Surrealism"
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were forced out of the country because of a hostile government.
171:; the group was based mostly but not exclusively on Surrealism.
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Surrealism in Egypt: Modernism and the Art and Liberty Group
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Surrealism in Egypt: Modernism and the Art and Liberty Group
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published by Henein and others on 22 December 1938 titled
613:"When Cavafy met Marinetti - European studies blog"
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507:. Stockholm: Moderna Museet. Accessed March 2019.
465:Egyptian Surrealism and "Degenerate Art" in 1939
159:active from 1938 to 1948, about the time of the
322:Manifesto for an Independent Revolutionary Art
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658:Anthony Gorman (2003). "The Mutamassirun".
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299:. As well, a reproduction of Picasso's
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441:(1947, 1950, 1954 and 1955), 4 issues
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406:, Wadid Sirry, Aidabel, and Hassia.
27:Egyptian artistic movement 1938–1948
758:. Prism Art Series. pp. 11–24.
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435:(January–September 1940), 7 issues
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849:Arts organisations based in Egypt
644:. I.B. Tauris. pp. 233, 239.
579:Alexandra Dika Seggerman (2013).
421:(March 1939–May 1939), two issues
814:1948 disestablishments in Egypt
157:artistic and political movement
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662:. New York: Routledge Curzon.
558:10.1080/0950236X.2015.1024725
163:. Among the founders was the
809:1938 establishments in Egypt
687:10.1080/21500894.2014.893811
419:The Art and Liberty Bulletin
382:Mouseiry for the newspaper
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819:Anti-fascist organizations
463:Don LaCoss (Spring 2010).
505:Background Art et Liberté
281:Long Live Degenerate Art!
271:Long Live Degenerate Art!
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713:The Museum of Modern Art
487:Negar Azimi (May 2017).
469:The Arab Studies Journal
259:Under the leadership of
839:Art movements in Africa
788:10.17077/0084-9537.1273
754:Gharieb, Samir (1986).
709:"Degenerate Art | MoMA"
598:10.17077/0084-9537.1269
522:. London: I.B. Tauris.
476:(subscription required)
769:Sam Bardaouil (2013).
640:Sam Bardaouil (2016).
516:Sam Bardaouil (2017).
429:(1939–1940), 6 issues
145:Groupe Art et Liberté
185:Vive L'Art Dégéneré!
384:Le Progrés Egyptien
202:Kamel el-Telmissany
78:Kamel el-Telmissany
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824:Surrealist artists
261:Gamal Abdel Nasser
227:Filippo Marinetti.
153:جماعة الفن والحرية
308:Group exhibitions
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377:Fourth show
347:Second show
219:Al Tatawwur
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394:Fifth show
364:Third show
316:First show
210:anarchists
165:Surrealist
117:Influences
781:(1): 16.
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675:World Art
566:162388367
293:Paul Klee
197:in 1938.
181:manifesto
53:1938–1948
301:Guernica
251:fellahin
214:Marxists
98:Amy Nimr
58:Location
718:6 April
622:6 April
404:Ida Kar
175:History
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149:Arabic
108:Hassia
691:S2CID
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167:poet
61:Egypt
720:2020
624:2020
524:ISBN
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