Art and tradition
Glass painting originated in the Mediterranean basin in the 14thcentury . Very widespread in Tunisia, it has been perpetuated to the present day. According to the most common version, this popular art form was brought to Tunisia by Turkish portraitists. However, the Syrian-Egyptian influence dominates the Tunisian version. Local painters do not hesitate to depict characters from Muslim history, despite prohibitions, which would reveal the influence of Christian painters. Glass painting has also been likened to the Persian traditions that emerged in Iraq in the illustrations of the 13th century. This delightful blend of Eastern and Western inspiration quickly gave rise to a specifically Tunisian style. Naïve and colorful, it readily retained its religious character: scenes from the life of the Prophet Mohammed, the Muslim conquest of Ifriqiya and other themes.
Glass painters saw themselves more as craftsmen. As a result, the arrival of easel painting was not always welcomed. The posture of the Western painter, standing like a master observer of the world, was not easily accepted. Yet these two attitudes continue to coexist and even renew themselves.
Recently, several artists have been rejuvenating this traditional art form by introducing abstraction. Leading the way is Youssef Rekik (1940-2012), who combined Arabic calligraphy, oriental mythology and abstract motifs. Also a theater artist, he remains a major figure in Tunisian culture.
Hédi Khayachi
Born in Tunis in 1882, Hédi Khayachi is considered Tunisia's first professional Muslim painter. His interest in painting took him to Paris, where he trained at the Montparnasse academies, then to Rome, where he specialized in portraiture before touring European museums.
In 1908, he became the official portraitist of the Husseinite court. In addition to his figures of high dignitaries, Khayachi painted landscapes and scenes of traditional life in which he paid tribute to women. He represented Tunisia at numerous international cultural events. On his death, he left numerous works that were completed by his son, the painter Noureddine Khayachi.
The Tunis School
Khayachi frequented avant-garde artists such as Pierre Boucherle (1894-1988), a Tunisian orientalist and landscape painter. In Paris, Boucherle rubbed shoulders with Modigliani and Derain before continuing his artistic studies in Spain. He returned to Tunisia after the Second World War. There, he founded the Group of Four, which developed into the Group of Ten, later renamed the Tunis School. This movement was characterized by a combination of popular subjects and magnified reality.
Among Boucherle's nudes, landscapes and still lifes, Le Moulin de La Goulette remains his most famous work.
The Tunis School was open to all young local talent. Its members included Ali Bellagha, Maurice Bismouth, Hatem El Mekki, Ammar Farhat, Jules Lellouche, Moses Lévy, Edgard Naccache and Yahia Turki. From 1960 onwards, two trends began to emerge within the movement: one group claimed to be inspired by Paul Klee, the other by kufic calligraphy. The following decade was marked by an abstract branch. Many women developed successful careers within the group, combining modernity with Tunisian particularities. Safia Farhat (1924-2004), painter, ceramist and upholsterer, worked for the reform of art education in Tunisia and for the defense of women's rights. The Safia Farhat Museum was opened in Radès, her hometown where she lived all her life.
Hatem El Mekki (1918-2003) is without doubt Tunisia's most famous artist. Noted at an early age for his skillful draughtsmanship, he remains best known for his caricatures, banknotes and the 500 stamps he designed for various countries around the world. As a painter, mosaicist and poster artist, he has often exhibited in Tunisia, as well as in Beijing, Washington and Berlin.
Contemporary art
In Tunis, some fifteen galleries show art that is accessible to all. They counterbalance the more selective galleries in the northern suburbs of Tunis. Between these two poles, there are a number of creative venues promoting alternative art in the country. The Central Tunis space, the B7L9 station, Dar Sebastian and Villa Sebastian are perfect examples. Dedicated to contemporary art, Espace Central Tunis raises public awareness of new artistic proposals. The 2011 revolution was followed by a period of gloom. But in recent years, artists from all walks of life have been making their voices heard.
On the outskirts, the B7L9 station brings contemporary art to the heart of the popular Bhar Lazreg district. To get closer to the locals, the site encourages affordable art, combined with traditional crafts: storytellers and bakers join forces with visual artists.
Despite these initiatives, young artists in Tunisia have a hard time getting off the ground. The principle of artists' collectives and cultural policies are sorely lacking. Tunisia also boasts one of the largest art collections in the Arab world, with 12,000 works. The only problem is that they are not accessible to the general public.
Calligraffitis
French-Tunisian graffiti artist eL Seed is the creator of calligraffiti, a sign that combines Arabic calligraphy and graffiti. Born in France in 1981, he set out to cross Tunisia in the summer of 2013. Along the way, he stops to decorate the country's abandoned walls with calligraffiti. Images from his road trip are collected in "Lost Walls", a book filled with moving images. His aim is to change the image of Tunisia in the world by highlighting its rich heritage.
Photographer Douraïd Souissi also uses the landscape to address social, political and historical issues. His work highlights marginalized regions such as Kef, Siliana and Kairouan. Born in Tunis in 1979, he studied in the United States before returning to his hometown. In 2006, he mounted his first solo exhibition, then took part in a number of international events, including the Rencontres d'Arles and Expo-Talan in Tunis.
