Issiakhem djamila long biography

  • M'Hamed Issiakhem was born on June 17, 1928 in Douar Djennad a mixed commune of Azzefoun in Kabylia.
  • Algerian painter.
  • How can I forget the battles in your alleys, that still bear the burdens of war?" Djamila Issiakhem, who grew up here in the 1960s as the niece of a famous.

    • •

    A
    W A
    R
    E

    Djamila Bent Mohamed was born in the Casbah of Algiers in 1933, and grew up there alongside her older brother and sister. Her father died during her childhood; her mother taught the art of carpet making in a school for crafts. D. Bent Mohamed attended the Collège Gambetta in Algiers city centre. When she became a teenager, her paternal uncle and legal guardian instructed her to wear a veil, but the young woman refused, and resisted the order with a silent protest. ‘Since then, my life has been a daily struggle, an eternal battle’, she would later confide in an interview with author Djamila Flici Guendil. D. Bent Mohamed went on to study at the Cours complémentaire français, and developed an interest in local craftsmanship and traditional embroidery. This led to her enrollment at the Algiers École des Beaux-Arts, where she studied under the miniaturist and illuminator Mustapha Ben Debbagh (1906–2006).

    From the beginning of the 1950s, D. Bent Mohamed would engage

  • issiakhem djamila long biography

    • •

    La peinture de chevalet, telle qu’elle s’est développée en Algérie à partir de la fin du XIXe siècle, a été le fruit d’un long processus d’acculturation et de réappropriation (Laggoune-Aklouche). L’importation de cette technique via des artistes voyageurs puis son adoption par des peintres locaux, est intimement liée à l’histoire coloniale du pays. Si celle-ci s’agrège à des pratiques déjà présentes comme la peinture sous verre ou l’enluminure, il n’en demeure pas moins qu’elle représente un art exogène aux cultures du Maghreb. Il convient donc de remonter à la naissance des mouvements se revendiquant d’une certaine algérianité pour appréhender la dimension identitaire de cette peinture et son incidence sur les parcours individuels. L’intérêt de cette approche est de montrer que l’évolution de la peinture réalisée par des peintres natifs va dans le sens d’une algérianisation progressive en période co

    •

    M’Hamed Issiakhem was born on June 17, 1928 in Douar Djennad a mixed commune of Azzefoun in Kabylia. This region of Aït Djennad has known as elsewhere a thin sword partition of the last French colonizer, with the decree of 03 February 1895. Thus, the indigenous population had at the birth of M’Hamed Issiakhem already experienced exile to escape colonial rule, and seek better fortune in Berber territory and historic coastal trading posts . It is in this douar that the town of Taboudoucht will be particularly loved bygd the painter, a commune that will exist as such much later, erected by beställning of 30 November 1956.

    The eldest son of Amar Ben Arezki and Oughemat Ouardia bent Mohammed, his paternal family had a Moorish bath at Relizane Market Square. From his real name Mohammed, he would later prefer the contraction M’Hamed.

    As a good eldest son and at the age of three he accompanied his father to Relizane, thus opening the first episode of a long series of