PAINTING’S SCHOOLS AND THEIR AESTHETIC IMPACT ON MODERN IRAQI ART DURING THE PERIOD (1900-1980)
The process of interconnection among schools of contemporary painting and the Iraqi artist remains embodied by aesthetic concepts which produced by the past and enshrined in aesthetic sense, clearly, we see this in the Iraqi artist who lived during the time period (1900-1980), as this artist continued to see his hopes of going into the past with his spiritualties. Adding to it another meaning that is not at all inconsistent with the ethnic, religious or social affiliation that embodied by the different schools of photography, especially if we know that the artwork is as an emotional charge that the artist makes to arouse feelings, reflections and emotions, especially the passion of beauty, hence, we find a close relationship between the schools of painting and the Iraqi artist who considered the art of drawing a form of homogeneous spiritual expression expressing the contents of the rooted conscience in the essence of artistic painting that expresses the painful reality at times, as the reality is enriching for the optimistic spirit in many cases of time, hence the Iraqi artist’s choices of pictorial schools that are compatible with his inner self.
The research forms an important station of the study of the most important schools of oil painting in Western art, as well as the extent of the changes that have faced this art. No doctrine, movement, or school has stabilized unless other contradictions have appeared and differing in their vision and successive stages, as these movements carry aesthetic elements that correspond to the world of speed and their fluctuations, to find an important role in the creative artistic context, so that art takes a wider field in social life, its functions are mixed between utilitarianism and aesthetic, as a result of the effect which created by the industrial revolution and its impact on the aesthetic taste of society in general, to be reflected in this on the Iraqi artist because of its aesthetic vision to elevate art to its highest creative stages.
In light of this, the research consists of the methodological framework of the research, starting with the problem of the extent to which it is possible to reveal the aesthetics of modern Iraqi art through its being affected by western oil painting schools? As well as standing on the possibility of photography schools and their aesthetic impact on Iraqi art, with its intellectual and aesthetic dimensions, as well as its importance, purpose and limits. It also includes the theoretical framework of the research and ends with the most important results