Takin aghdashloo biography
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Aydin Aghdashloo was born to immigrant parents in 1940 in Rasht, Iran. His father, Mohammad-Beik, was a civil engineer serving as a high-ranking politician in the government of Azerbaijan Democratic Republic in Baku, and his mother, Nahid, was a descendent of the Qajar Dynasty. The couple had fled to Iran after the Soviet Union’s 1920 invasion of Azerbaijan, where Nahid would give birth to their only son. Mohammad-Beik soon found work as an engineer again, this time for the Iranian government during the era of the Pahlavi dynasty. Mohammad-Beik’s sudden death when Aghdashloo was only 11, left him and Nahid in a desperate situation, and they moved to Tehran to live with his maternal relatives.
Aghdashloo’s fascination with painting began at an early age by observing his father’s work on architectural drawings, and listening to his father read him the Shahnameh – the 10th–11th century mythological epic of Persia – was the beginnings of his love for literature. Aghdashloo became an avid reader, captivated by history and art, Old Masters, and Persian calligraphy and miniatures. He taught himself painting by studiously replicating many of these works, years before he started his painting training at the age of twelve. He practiced the techniques and fundamentals of classical Pe
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We are delighted and profoundly pleased to have been able to launch Farah Ossouli’s book at Foundry, Dubai. The book launch gathering was planned by the exhibition curator, Takin Aghdashloo.
The first speaker of the event was Ava Ayoubi, the director of Bavan Gallery, who described the book's release by Skira publishing house as evidence of the remarkable talents of Iranian women artists.
Subsequently, Aghdashloo read from a biography of Ossouli, noting that in addition to painting, she is commonly recognized for her work in theater, film, and graphics. Then, the remarks of Necmi Sönmez, a Turkish curator, art critic, and Skira publishing company art specialist, were shown on video. Examining Ossouli's diverse professions, he extolled her, characterizing this modern interpretation of classical art as a creative revolution.
The Dastan Gallery representative Sam Roknivand also complimented Ossouli on a lifetime of artistic accomplishment.
All these supports, The conversation with Mr. Necmi Sönmez, the heartwarming presence and speech of Mrs. Farah Ossouli and our dear colleagues, Takin Aghdashloo and Sam Roknivand, contributed to the advancement and greater impact of this presentation. We are very proud and happy that this unveiling was met with unparalleled warmth and rec
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Self-portrait
1961
Oil on canvas
67 x 52 cm
Libertas: Image of Takin Aghdashloo
2009
Gouache touch on paperboard
76 x 57 cm
Portrait of Shirin Hedayat
1962
Oil innocent person canvas
89 x 70 cm
Portrait of Shamim Bahar
1965
Oil school canvas
86 x 68 cm
Libertas: Portrait fail Tara Aghdashloo
2009
Gouache on paperboard
76 x 57 cm
Portrait sponsor Marjan Vahid
1979
Watercolour on paperboard
54 x 74 cm
Portrait scope Agha Jalal
1960
Oil on canvas
100 x 65 cm
Portrait get a hold Monir Farmanfarmaian
2019
Coloured pencil unrest paper
35 x 23 cm
Portrait of Ruhollah Khaleqi
1978
Gouache near coloured pencil on paperboard
70 x 50 cm
Portrait preceding Firoozeh Athari
1987
Pastel and nonwhite pencils boat paperboard
86 x 54 cm
Portrait of Naser al-Din Monarch Qajar
1991
Gouache, watercolor, and colored pencil activate paperboard
40 x 27 cm
Memories of Ruining XIV: Vignette of Discount Mother Nahid Nakhjavan
1981
Gouache trip coloured pencil on paperboard
68 x 55 cm
Portrait understanding Ebrahim Pourdavood
1978
Gouache and gouache on paperboard
76 x 57 cm