The Iranian Painter

 

 

    

 

 

 

Biography

        

 

 

                              

Nami Petgar was born in Tehran in 1945. As a young child he painted and drew in the workshop of his father and uncle, who were famous painters of their day. He was first inspired by the realistic paintings of his teachers, and later gained remarkable skills in portrait painting. By the age of twenty, he had become expert in oil-painting techniques and had acquired enough experience to start his own workshop and classes in Tehran.

            Working on his own, Petgar abandoned traditional and conventional painting styles studying various different approaches, including impressionism and Postimpressionism. Yet he failed to find any one style an ideal visual means of expressing his immediate environment. He took no interest in the artistic mainstream of the day, i.e. modernism, and considered the academic art schools’ painting courses deceptive and misleading. Petgar’s main ambition was to study the folk arts of Iran and depict the nomad women’s colorful clothing, cradles and kilims. He also wanted to paint the landscapes of his vast country. His studies extended well beyond Western painting styles and techniques to Oriental and Indian schools of painting. Through his family’s acquaintance with poets, writers and musicologists, Petgar developed an interest in literature and mysticism, wishing to conglomerate these in his paintings as well.

            In 1966 Petgar set out on a five-year field study all over Iran learning about Iranian folk art and handicrafts. He painted some of his findings and published the rest in journals of art and culture, then left for Europe to visit museums and find out more about Western art.

            Upon his return, he produced a series of landscape paintings of mountains and deserts illustrating all his technical and theoretical discoveries. He wanted his paintings to be as unique as his fingerprints in representing his own character and identity. Meanwhile, he was experimenting with symbolic images such as trees, sky, curtains, windows, women, cloth, birds, books, musical instruments, etc. To Petgar these elements from daily life also carry spiritual and aesthetic symbolism. For instance, the portrait of a woman depicted with an overwhelming sense of her own mystery is the symbol of both a human and an angel, of beauty and love, silence and patience, life and death.

            Since 1981 Nami Petgar has been acquainted with one of the prominent international figures of mysticism, J. Krishna Murti. From Murti he has learned a great deal about self-knowledge and artistic creation.

            Ali Asghar Gharebaghi

One-man exhibitions:

1972, Tehran, Naghsh Gallery
1974, Tehran, Maktabbé Kamalolmolk Gallery
1984, Tehran, Petgar Art Gallery
1987, Tehran, Reza Shahabi Art Workshop
1989, Tehran, Sabz Gallery
1991, Tehran, Sheikh Gallery
1995, Babbolsar, Iran, Naghsh Gallery

Group exhibitions:

1965, Tehran, Middle East Artists Exhibition, Turkish Embassy
1967, Tehran, Contemporary Artists Exhibition, Museum of Ancient Iran
1976, Tehran, Takhtejamshid Gallery
1977, Shiraz, Iran, Contemporary Iranian Artists Exhibition, Koorosh Hotel
1977, Tehran, Sheikh Gallery
1989, Tehran, Museum of Contemporary Art
1993, Tehran, Sabz Gallery
1995, Tehran, Daryabaygi Gallery

نامي پتگر،در سال1324در تهران متولد شد .وی ابتدا مانند استاد و پدرش علی اصغر پتگر ،به شیوه واقعگرایانه نقاشی میکرد.در سال 1344 به تاسیس آموزشگاه مستقل هنر طراحی ونقاشی در تهران اقدام نمود .
تقریبا پس از پیروزی انقلاب اسلامی واقعگرایی اودر چشم اندازهایش ،از ناتورالیسم تغزلي به سوی گرایش به تجرد رفت وفیگور هایش به نوعی بیان تمثیلی باحال وهوایی،تغزلي وشرقی انجامید ،وهمین ویژگی ها،آثار رنگ وروغنی او رااز آثار فیگوراتی و غربی متمایز میکند .به مناطق مختلف کشورش سفر های زیادی نموده  ،هم از ویزگی های جغرافیایی متنوع وهم از هماهنگی های گوناگون رنگها ی خالص در صنایع دستی این مرز وبوم در آثارش تا ثیر گرفت .
نامی پتگر در سفر هایی به غرب از رم ،واتیکان، فلورانس، پاریس،دیدن کرد واز هنر کلاسیک ومدرن اروپا بسیار اموخت  ،لیکن شیوه حسی وادراک شهودی ایرانی خویش را از دست نداد .از تجربه هایی که از تدریس در دانشگاهها یا اموزشگاه شخصی خود کسب کرد جهت تبیین حقانیت بروز جلوه های بینش انسانی ومعنوی در هنر بهره جسته ومقالاتی در این زمینه انتشار داد ونیز در برنامه های تلوزیونی کشورش در رابطه با تفسیر تاریخ نقاشی ،تحلیل های ویزه ایی ارایه نمود .در اغلب نمایشگاه های مهم کشورش شرکت داشت، نمایشگاه های انفرادی اوهمچنان بازدید کنندگان کثیری از اقشار مختلف جامعه را جذب می کرد  .
برخی از نمایشگاه های مهمی که شرکت داشت عبارتند از :

1344،نمایشگاه هنرمندان خاورمیانه در سفارت ترکیه


1346،نمایشگاه هنر مندان معاصر در سالن جدید موزه ایران باستان


1353،نمایشگاه مکتب کمال الملک وپیروانش در نگار خانه مهر شاد


1355،نمایشگاه سه نقاش معروف رئالیست در نگار خانه تخت جمشید


1346،نمایشگاه هنر مندان معاصر ایران در فرهنگسرای نیاوران


1368،نمایشگاه هنر مندان معاصر ایران در موزه هنر های معاصر


1371،نمایشگاه جلوه های هنر ایران در موزه هنر های معاصر


1379تا1370،شرکت در کلیه نمایشگاه های دو سالانه ایران


همچنین برگزاری نمایشگاه های انفرادی از دوره های مختلف اثار خود در تهران وشهرستان های ایران در طی بیست سال گذشته
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