الفكر و التشكيل في رسوم الفنان محمود صبري من الواقعية التعبيرية إلى واقعية الكم

الملخص EN

Thought and Plastic Art in Sabri’s Paintings: From Realism to Quantum Realism Plastic artists have been trying to give their work further dimensions such as the scientific dimension.

One of the leading figures in this respect is the Iraqi plastic artist Muhmood Sabri , who is a good representative of this trend in contemporary plastic arts and his theory is said to stem from some European roots.

Anyhow the artist, in question, is worth being focused upon.

Chapter One is a frame of the study.

Hence this work starts with the problem of the study which takes the form of these questions: What is the range of the auto mental visions that Muhmood Sabri enjoys? What mechanism does he apply to his mental and scientific approach to his product? And what are the common features both quantum realism and the abstract engineering painting have? Besides, this chapter includes the significance or importance of the study as well as its limitations and the procedural definitions of relevant terms.

Chapter Two is a review of literature.

It divides into two sections: the first section is on the mental content and discourse of modern art whereas the second section presents the mental content of Sabri’s painting.

Chapter Three is on the procedures of the study.

It is concerned with the population of the research work, its sample, approach and tools of data collection.

This chapter ends with the analysis of the sample models.

Chapter four deals with the results and conclusions of the study.

Here are three results: 1.

Sabri’s paintings, which can be considered to be examples of expressive realism, generally reflect a tragic atmosphere reflecting the artist’s own social world.

Sabri’s products form but a hidden frame in his pure abstract (quantum realism) paintings.

2.

Sabri’s plastic dialectics is coloured first by his Marxism.

Secondly, he tends to be scientific in his treatment .

Finally, despite his innovation and creativity, he never gives up his deeply-rooted ideology while his aesthetic transfer and mental and ideological displacement on his way to his scientific mentalism .

3.

Design is an overriding feature of Sabri’s paintings.

His expressive realism (or socialism) or what he later called quantum realism, is a common characteristic of his aesthetic mental and ideological objectives.

The research worker has also arrived at conclusions such as the following: 1.

The interdisciplinary relationship that governs both the mental vision and discourse of plastic art has been the focus of the majority of modern European artistic trends.

This very interest or focus has led to plastic art values that provide a global track for artists to follow and the contemporary plastic artists are not an exception.

2.

Sabri’s painting certainly matches with most requirements of the trends of modernism in art.

The broadest matching has been found to be with cubism and aesthetic abstraction.

Cubists have sacrificed content for form.

On the other hand, advocates of abstract plastic art deal with formal beauty in terms of what is lying behind the visual text for they are after what is spiritual rather what is depicted by the senses.

That is why, Sabri assumes that quantum realists are not content with just displaying all that is abstract.

They are rather rendering the essence of what is abstract via simulation or virtual presence.