· فيروز سمير عبد الباقي مواليد القاهرة عام 1972
· مدرس مساعد – كلية الفنون الجميلة .
· بكالوريوس الفنون الجميلة – القاهرة – قسم التصوير عام 1995 تقدير عام امتياز مع مرتبة الشرف .
· عضو عامل بنقابة الفنون التشكيلية بالقاهرة .
· درجة الماجستير في التصوير 2002 رسالة بعنوان: ( عودة الشكل الطبيـــعي في التصوير الغربي المعاصر )
· معارض جماعية بكلية الفنون الجميلة 93-94-1995.
· معرض جماعي بقاعة رجب 1998.
· رسوم داخلية وغلاف لعدة كتب للاطفال – دار الهلال - دار الشعب – المركز القومي لثقافة الطفل .
· مقتنيات بوزارة الثقافة وشركات خاصة وافراد بمصر والخارج .
· جائزة مجلة المراة السوفيتية لرسوم الاطفال .
· جائزة تقديرية من جمعية فناني الجيزة .
· شهادة تقدير من جمعية رعاية النوابغ .
· شهادة تقدير من كلية الفنون الجميلة .
· جائزة عز الدين حمودة للمتفوقين.
· جائزة جمال السجيني للمتفوقين.
· الجائزة الثانية – مسابقة راتب صديق 2005
( أتيليه القاهرة )
· جائزة نقابة الفنون التشكيلية – صالون الشباب السابع عشر-2005 .
Curriculum vitae

** Personal Data:

Name : FAYROUZ samir abdel baky
Nationality/Sex : Egyptian / female
Date of Birth : 26 April 1972
Marital Status : Marred
Home Address : 2 El-Zahra St., Duke, Egypt.
Mobile :
0123363562

Biographical information

- Fayrouz Samir Adel Baky
-1972 born in Cairo.
-participated in Egyptian plastic movement since 1993.
-Assistant professor in the Faculty of Fine Arts painting department. – Helwan University.
-A working member at the plastic arts syndicate in Cairo.
-The fine arts BA - Cairo - the painting department in year 1995 a general estimation a distinction with the honorary degree. – Helwan University.
-MA Introductory Course from the Faculty of Fine Arts with “Very Good” 1997.
-The Master Degree in the painting 2002 messages by an address the return of the natural form in the contemporary western painting.
-A Course of preparing teacher from Helwan University-2005
-A several group exhibitions in the Faculty of Fine Arts.
-A group exhibition in Rajab gallery 1998.
-An internal fees and covers of several children books - Dar El Helal and- Dar El Shaab.
-Acquisition: Ministry of culture - private companies and individuals in Egypt and the abroad.
-An appreciation award from the society of Giza artists.
- The Ezz El din Hammouda's prize and Al Sajini's prize to the superiors.
- The second prize of Rateb Siddik's competition of year 2005.
-The prize of the Syndicate of Plastic Arts – 17TH youth Salon -2005 .

Helwan University
Faculty of Fine
Arts
Painting Department



The Return to the Natural
Shape in the Contemporary Western
Painting


Master Degree in Painting Submitted
By
Fayrouz Samir Abdel Baky
A Thesis Submitted for the Master Degree
Painting Dep. Faculty of Fine Arts


Supervision

Prof. Dr.
Sabry Mohamed Mansour
Head of Painting Dep.
Ex. Dean Faculty of Fine Arts
&
Asst.Prof.Dr.
Mohamed Nabil Mustafa
Assistant Professor of Art History Dep.
Faculty of Fine Arts


2002


Summary of Research


The Research topic consists of three parts besides the research’s experiment.

Part One: Classicism
This chapter consists of two chapters as follows:

Chapter One: The War of Classicism.
The term definition and its use, then presentation of hist- oric summary about classic painting since the Pre–Homeric civilization, middle ages, renaissance. And the development added by a number of artists such as; Giotto, Masaccio and Titian, represented in the outflow of classic shapes which are the source of Barouque art language.

The research then moves to separation that took place in the 17th century among Poussin and Rubens groups. And what happened in the age of Louis XIV especially classification of the painting types in accordance with their center within the French Academy. Also excavations and monuments in the city of Pompeii. Then the appearance of the New Classicism.

The research also moves into classicism at the beginning of the modern age on the hands of both Ingres and Delacroix, and the classical artists of modernity age like Corot, and Gustave Moreau.
It presents too the classical spirit in the twentieth century, on the hands of artists like Picasso and Salvador Dali, and classi- cism of post-Modernism that faced a development of the standard criteria for the classical movement.

Then the reflection thesis of the historical hierarchy which justifies the return of classicism with its movement comprising the free classical style and ability to adopt and function new elements in modern style.
The chapter ends by post modernism classical laws and principles depending on the principle of multiplication, civiliz- ed style and shooing, in addition to the principles of historical continuity and interesting in drawing.


Chapter Two: it deals with one of the symbols of ancient classical painting, Nicolas Poussin, who is the import- ant French painter in the 17th century.
He was an artist, philosopher, researcher and the source where other classical artists of post- Modernism benefited him, so the researcher presented the atmosphere and influences that faced Poussin and other renaissance artists who had affected by him.
The research then, deals with the artistic style of Poussin that depends on his belief that nature is confined with intrinsic aim repress.
Ted in harmony between intellect and passion, and how he was translating senses, internal troubled impressions throu- gh his works.

The research then moves into the intellectual side of Poussin and his thesis of styles and emotions that depend on that different articles demand too different methods and styles.
Also, the research didn’t neglect the philosophical side in his works as an ethical teacher and director, besides dealing with topics that depend on the principle of considering acquis- ition of ethical and wisdom is the best implementation of man, achieved only by freeing man spirit from individual emotions in order to reach the egotist intellect into completeness.

The research deals with poussin’s stages in work and the way of selecting articles either landscapes or aspects of wars, massacres or paintings, and the chapter ends by arcadia plates, the source of inspiration for most of classical artists specially post-Modernism classicism

Part two:
It consists of two chapters, where the researcher deals with artists of reviving the classical traditions, in contemporary painting starting with definition of the classical consciousness.

Chapter one:
It deals with one of the famous contemporary artists who did their best in the classical art, and comprehended it with consciousness and perception depending on studying old works of the Avant-Garde like Baltus, where the chapter begins with his growth and artistic beginnings, artistic charact- eristics of his style, and the influence of east and far east on his style.

Then the research moves into his artistic technique and thought depending on his internal expression, personal world and his research in nature and reality, then presents the articles Baltus dealt with like landscapes and profiles.
The researcher also moves into psychological side and its dimensions in Baltus works and his interest in different man life ages such as childhood, adolescence and competent wishes in his works, besides his shaping for the element of sneak, dream and the dream visitor.

The research presents too the idea of annoyed astonishm- ent Baltus shaped with cleverness and could create an atmos- phere of bewilderness and astonishing in the normal daily a spects.



Chapter Two:
It presents the generation of classical artists of post-Modernism, who appeared clear variation in the form of their perception of the classical traditions. While keeping pace with the spirit of modernism, so the researcher starts with presentation of the American painting in the eighties of the 20th century with its Arcadian Traditions or the utopian tradit- ions and the later divided into emotional Utopia by Lennart Anderson, Milet Andrejevic, Tomas Cornell, James Lecky, and David Ligare. And the tragedy Utopia by James Lecky, Edward Schmidt, then the chapter ends by another form of reviving classics, it’s the metaphysics classics that had shaped on the hand of Carlo Maria Mariani.

Part Three:
It deals with the classical concept, and blending with realism in the contemporary painting, and the part is divided into two chapters.

Chapter One:
It deals with narrative classicism that present articles with ethical significance’s inspiring tightness with general virtues, and giving good effect with good ethical values, specially the nation loyalty, and religious spirit that subdue in most cases to the ethical respectively and level division, where the ethical aesthetics artists had shaped them comprising the element of narration inspired of those artists Alfred Leslie, Jack Bael, James Valerio and Robert Longo.

Then the researcher moves into Allegorical Classicism and the persistent relationship between symbol and myth that comprise symbolic stories with new ethical significances and firm planning of messages towards the society, and this is what is called – Implicit Allegory – that comprise some artists who took the symbol a mode of reaching the aim through their classical works, those artists were Martha Mayer Erle Bacher, Claudio Bravo, Bruno Civitico, Lincoln Perry and Stone Roberts.

Also, she dealt with another type of symbolic classicism, it’s Nostalgic Classicism in which the artist could express his conviction of the present by the name of the past where he reshapes an ideal pattern in order to criticize the present in tragedy jeering through drawing back a group of values deep rooted in the past.
This concept appears in the works of many artists of Post- Modernism Classicism like Alan Feltus, Vitally Komar, Alexander and Stephen McKenna.

Chapter Two;
It’s deals with realist classicism and the contrast role the realist plays through the history of the classical movement, also the definition of the term “ Realist” with its larger meaning.
Then, the researcher deals with the development of realist in painting since the 19th century when it was just a reaction against the mechanical movements in the 16th century.
The research moves then into realism of Post- Modernism in the end of the 20th century as the realism became an important case in art specially in U.S.A. as it reflected the troubled sense of America during the peak of Vietnam war with its complicated traits.
Also the research presents the ideal realist classicism, shaped by realist artists who painted body to arouse some psychological social points , where the human body is considered as the human presence and the tragic age man lives in, such as Philip Pearlstein, Richard Shaffer and Steve Hawley.
The research presented too some contemporary realist artists who took the classical architectural art a main geom- etrical structural mode in their works such as William Wilkins and John Nava.
Also ,the research moves to another type of Post-Modernism Realism, the Photorealism whom the contemp- orary . Realist artist could reformulate forms of realism in new styles through keeping pace with the huge scientific develop- ment in the 20th century and the development taking place in the modes of photography and discovering what the naked eye fails to spot in the visual realist world.
A number of specialist artists represented this realist trend in their works and characterized by cleverness and high techn- ique, such as Richard Estes, Richard McAllen, Ralph Goings, Robert Bethel, Audrey Flack and John Salt.
Then the research deals with another type of photography realism represented by some photography realism artists who confined themselves between their belief in photo and stable unfocused of camera lenses such as Chuck Close, Robert Cottingham and Michael Leonard.
In the end, the researcher deals with her personal exper- iment to practice painting starting by the project of graduation at the faculty (about the limits of biring) where she painted the popular extinct bathroom of women in a way that keeps the natural form, and shape the state of psychic separation and closeness within the special world, and further trials that shape the human body aesthetics and confirm the separate case, then the self experiment in dealing with the still nature and the inconvenient elements such as union .
Also, the researcher trays to deals with the old Egyptians myths. Such us the myths of Esis the old Egyptian god
These trials were to confirm the sprite of Esis whish hides inside all the women characters. The researcher presents all that by mixing the natural form and using the old samples of the old Egyptian culture.


Abstract

The research comprises three parts besides the researcher’s experiment; it deals in the part One: with classicism.
Chapter One: deals with definition and historical abstract about classical painting since Pre-Homeric, and through middle ages, Renaissance and Modern age.
Then, it moves into the 20th century until the period of Post- Modernism, also it presents rules and principles that control classicism of Post- Modernism.
Chapter Two: deals with one of the classical symbols, Nicolas Poussin, in which a number of artists followed up.
The chapter presented his artistic style, intellectual and philosophical side, then moves into the research procedures.

Part Two: it consists of two chapters and deals with artists who revive the classical traditions in the contemporary painting starting by the definition of the classical consciousness.
Chapter One: concert rates on Baltus, the contemporary artist who understood and precepted the classical art through his study of ancient works of Avant-Gard.
It deals with his beginning and artistic characteristics, also it presents his works interesting in different age stages and works pertained in potential wishes.
Chapter Two: presents the generation of classical artists in Post – Modernism who led the traditions of Utopia with both types emotional and tragic such as Lennart Anderson, Milet Andrejevic, Tomas Cornell, James Lecky, David Ligare, and Edward Schmidt, then the research moves into metaphysic classicism shaped on the hands of Carlo Maria Mariani.


Part three: presents the classical concept and its combination with realism in the contemporary painting.
Chapter One: deals with Narrative Classicism shaped by ethical a ethical artists whom their work comprised the inspired narrative element, of them Alfred Leslie, Jack Beal, James Valerio and Robert Longo, the chapter then moves into Allegorical Classicism and what is called Implicit Allegory, represented by Martha Mayer, Claudio Bravo, Bruno Civitico, Lincoln Perry and Stone Roberts.
The research moves into another type of symbolic classicism - Nostalgic Classicism – represented by Alan Feltus, Vitaly Komar , Alexander and Stephen McKenna .
Chapter Two: deals with the ideal realist classicism shaped by realist artists such as Philip Pearlstein, Richard Shaffer and Steve Hawley.
Also, it deals with some contemporary realist artists who used the classical architectural art geometrical mode in their works such as William Wilkins, John Nava.
The Chapter also deals Photorealism represent by Richard Estes, Richard McAllen, Ralph Goings, Robert Bethel, Audrey Flack and John Salt, then the abstract Photorealism represented by Chuck Close, Robert Cottingham and Michael Leonard, and later, it moves into the special experiment of the researcher which comprises her trials to shape aesthetics of the human body with confirmation on the separate case, what is called occidentalism.










Quintessence

Atheists submitted for the Master Degree by Fayrouz Samir Abdel Baky. It called The Return To The natural Shape in the Contemporary Western Painting. The research comes within three parts and the experiment.
Part One with its two chapter deals with classicism
Chapter One: a historical brief on the classical painting, and the rules that govern classicism in Post modernism.
Chapter Two deals with the classical symbol -Nicolas Poussin - his artistic style and philosophical sides.
Part Two deals with reviving the classical traditions in contemporary painting: definition of the classical consciousness.
Chapter One deals with Baltus, his perception of the classical art, and his works.
Chapter Two presents the classical generation in post- Modernism who developed Utopia traditions. Then moves into metaphysic classicism shaped by Carlo Maria Mariani.
Part Three: the classical concept and its combination with realism in contemporary painting.
Chapter One: Narrative Classicism, the symbolic classicism and what is called Implicit Allegory and Nostalgic Symbol.
Chapter Two: Realist Classicism, some artists who took the classical architectural art as main geometrical structural mode, and the Photorealism. Then ends by the researcher’s experiment that comprises trials of shaping the human body.








Helwan University
Faculty of Fine
Arts
Painting Department



The Return to the Natural
Shape in the Contemporary Western
Painting


Master Degree in Painting Submitted
By
Fayrouz Samir Abdel Baky
A Thesis Submitted for the Master Degree
Painting Dep. Faculty of Fine Arts


Supervision

Prof. Dr.
Sabry Mohamed Mansour
Head of Painting Dep.
Ex. Dean Faculty of Fine Arts
&
Dr.
Mohamed Nabil Mustafa
Assistant Professor of Art History Dep.
Faculty of Fine Arts


2002




composation

I don’t want to… part 3 -oil painting -120cm x100cm -2005

I don’t want to…-oil painting -120cm x100cm -2005

I don’t want to…part 1 -oil painting -120cm x100cm -2005

I don’t want to…part 2-oil painting -120cm x100cm -2005