Ahmad Canaan: The Transition from the Allegorical Woman to the Woman of the Daily Life.

Aida Nasrallah

  Since the seventies, the image of the woman and its symbolizations in the works of various Palestinian artists has emerged as a national mythos, that is, a forceful element that represents the nation. The connection between the woman and the homeland was established insofar as the mother’s conception of her children complements the homelands (i.e., motherland) offering of a sense of motherhood to its people (Kandiyoti, 1991, 429), despite the wide gaps between representations of the woman’s body in art and literature and its role in real life (Tarabishi, 1997, 3-10). In her two articles of the same year, Tina Malhi-Sherwell contends, with particular reference to artistic works from the seventies and the eighties, that the woman’s body is basically necessary to preserve an identity and national genealogy (Malhi 2000a, 2000b). Also, Vera Tamari and Penny Johnson both present works by Palestinian painters that demonstrate projections of the enlarged symbolic woman as a model of pain and the motherland. For example, in both Taiseer Barakat’s and Nabil al-Anani’s works among others, “the woman’s body is enlarged and women wear clothes that through its embroidery transmit the abstract character of Palestine’s nature. Their eyes never meet the audience’s to suggest a dreamlike gaze directed toward the future (i.e., alluding to the return to the distant motherland). That is, the woman’s inflated body manifests the idea of the stolen land (Tamari, Johnson, 1995, 164). This is not to say that the woman has been envisioned in allegorical fashion to those of goddesses and saints (Hajjaj, 2001, 43) even though Kinaan exemplify what Sherwell, Tamari, and Johnson claim regarding the incorporation of the woman into the home and land in several of his earlier works as in Anat’s collection.

 paintings 2006-2015

Yousef Falah Elias

  Ahmad Canaan Ahmad Canaan is listed among the most prolific artists, with a 30-year artistic career, during which he created hundreds of artistic works spread worldwide. He adopts a unique artistic style, expressing his inner self as a multidisciplinary artist, both as a painter and a sculptor. By following up on the artists creations throughout the past decade, we have witnessed a constant progress in his artistic career, on both stylistic and thematic levels. What distinguishes Ahmad from others is the selection of themes which represent him as an Arab person belonging to this land, and inspired by his society and surroundings. In this article, I will address some of these themes, divided into multiple collections: the Cavalier collection, the Refugee collection, the Wedding collection, the Illegal Residents collection while the Woman collection will be addressed by Dr. Aida Nasrallah in a separate article.

 The Quest for Identity in Ahmad Canaans Work

 Ruti Ofek

 Ahmad Canaan – Sculptures

 Tamar Hurvitz Livne

 Nothing but light, and the work of Ahmad Canaan

Bashir Makhoul

 By Bashir Makhoul March 2011

 Die Welt Drucken Bewerten Autor: Lili Eylon| 24.12.2010

 Wohin des Weges?

 Arab Artists in Israel Await No Favors

 by Dani Ben Simhon Issue93 cahllinge magazine , September/October 2005

 A taste of colours and contradictions

 Anne Baisch, English translation by Ulrike Steffen

 Palestinian Art at Jaffa Port

  24October 2010 Written by: Ayelet Dekel

 Ahmed Canaan:The Storyteller between Realism and Dream of Flight

Aida NasrAllah

 This Catalogue includes the paintings of the artist Ahmed Canaan ,between the years 2005-2007

 Ahmad Canaan: The Dreamer Knight

Aida Nasrallah

 This catalogue contains a selection of Ahmad Canaan’s works from 2005-2007. These works focus on the theme

 The Knight a beautiful motive

Ibrahim Malik

 and features, as if they were characters of hidden and camouflaged Knights, as if the artist Ahmad Canaan transfers to us with his pencil the image of the reality we live

 To be “On the horse” and behind the screen

Nava Shoshani

 Due to the Islam’s ban on creating any animalhuman figures since its very first days, Muslim artists have turned to the art of trimming and decorating and have done wonders

 The Knight Composite -Disjointed -in the works of Canaan

Maliha Maslamani

 If We want to define the identity of the artist Ahmed Canaan, there is no better expression than of saying that, he is

 The Unity of Contrasts

Hana Kofler

 “Kenan/Kanaan” is an exhibition on the subject of culture, identity and language - the basic constituents which have motivated the art world since the dawn of humanity. These constituents are embodied

 Returning to the roots A reading in the exhibition of Ahmed Canaan A’NAT

Rose Shomali

 first visit to Nazareth was connected to the exhibition of the artist “Ahmad Canaan”, I went there to look for the roots of the family in Nazareth, but I found myself meeting with

 The Intimacy of Solid

Yusiph Elias

 When we trace Canaan’s artistic autobiography over the last decade, we can see that he was and

 Canaan’s artistic work

Aziza Diab

 Canaan’s artistic work includes sculpture and painting. He has produced a number of sculptures using liberal amounts

 The many shapes of roots produces art which unites all times and thereby consolidates the identity

Meliha Muselmani

 The drizzle of the past sprinkles from his sculptures, linking the power of a bygone civilization to a hope lived by ..

The many shapes of roots produces art which unites all times and thereby consolidates the identity