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Qatari art

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Modern visual arts

Origins

Historically, figurative art was not a feature of Qatari society due to Islamic traditions, and as a result, illustrative art forms such as paintings and drawings were rare. Instead, other visual art forms such as architecture, calligraphy and textiles were more highly valued. However, during the oil boom in the 1950s and 1960s, figurative art began to gain popularity, with common themes focusing on Islamic and Arabic heritage.

The Ministry of Education played a significant role in promoting art education in the 1950s by integrating it into the school curriculum and providing facilities for art workshops. In this vein, the ministry developed plans and programs to improve art teaching methods and enlisted skilled educators in the field. Additionally, it organized both local and national art exhibitions and provided educational resources such as films showcasing famous artists' works and various artistic techniques. Art education textbooks focusing on art appreciation, art history, and teaching methods were also introduced to teacher training institutes. The first nation-wide student art exhibition in 1961 showcased the creativity of Qatari students, many of whom later became notable artists.

The Al Jasrah neighborhood, located near the well-known Souq Waqif, was the hub of Qatari cultural life in the 1950s. It was home to significant families closely linked to the rulers and other tribes, and it became a meeting place for several artists, including: Jassim Zaini (1943–2012), who is often regarded as the founder of the modern art movement, Yousef Ahmad, Hassan Al Mulla, Ali Hassan, Salman Al-Malik, and Mohammed Al-Jaida, among others. Their childhood stories and shared passion for art would, many years later, lead to the establishment of the first art group in Qatar, The Three Friends, followed by the Qatar Fine Arts Society.

In the 1950s, the first social and cultural clubs, such as the Al-Oruba Club and the Al-Nasr Club, emerged. However, it wasn't until the Al Jasrah Social and Cultural Club was established in 1971 that these clubs began to contribute significantly to the art scene.

Early development initiatives

As an initiative to develop the local artist base, the Ministry of Education began offering scholarships to study art abroad. Jassim Zaini became the first Qatari art student to study abroad on a scholarship in 1962 after he enrolled in the University of Baghdad. Further artists were sent abroad on art scholarships during the 1960s and 1970s, including Wafika Sultan, Hassan Al Mulla and Yousef Ahmad. The latter became the first artist to receive an M.A. in 1981. Wafika Sultan emerged as the first professional female visual artist after graduating in 1974.

Initially, few Qatari artists had formal fine arts education, with many pursuing art through various academic routes. This changed with the establishment of Qatar University in 1973 and the eventual introduction of the Art Education Department in 1986, which produced generations of graduates. Early beneficiaries of Qatar University's arts program include artists Wafa Al-Hamad, Badriya Al-Kubaisi, and Khawla Al-Mannai.

The 'Free Studio' training program became an introductory gateway for university students, conceptualized by the Ministry of Education in the late 1960s and operational by the early 1980s under the Ministry of Information. Prominent Egyptian artist Gamal Kotb played a key role in developing training programs for the studio. The studio offered courses and public lectures, with state support providing salaries for participants and inviting prominent artists for training sessions.

Initial growth

Art exhibitions were held under the auspices of the Ministry of Education until 1972. The limited art exhibitions at the time were held in venues like the Gulf Hotel, the National Museum of Qatar, the Qatar Fine Arts Society, and clubs like Al Jasra and Al Gharrafa, with no private galleries existing at the time. Notable early exhibitions include the UNESCO Art Exhibition showcasing European painters from 1900 to 1925, the Leonardo da Vinci Manuscripts Exhibition in 1972, and the Watercolor Exhibition in 1976. Yousef Ahmad was the first artist to hold a solo exhibition in 1977. The Department of Culture and Arts inaugurated the country's first art gallery, located in the Visual Arts Centre, in 1977 under its director Nasser Al-Othman.

Several art institutions and cultural clubs began to form in the 1970s; the most prominent among these was the Al Jasrah Cultural Club, which was formed in 1971. As the art movement in Qatar began to mature, the Al Jasrah Cultural Club took on the responsibility of uniting talented artists. Jassim Zaini was a member of the club's administrative committee in addition to his role as an art education supervisor at the Ministry of Education. Through his position and involvement in Al Jasrah Club, Zaini gathered many emerging talents, providing them with guidance in aspects such as color, line, and space. Among his students were several who went on to become prominent artists in the industry, including Yousef Ahmad, Salman Al Malik and Hassan Al Mulla. The club was officialized in 1974 at a ceremony held in Al Jasrah Hall.

Following the founding of Al Jasrah Club, several other art institutions were established. In 1976, Mohammed Al-Mannai opened the Cultural Center. This was followed by Qatari government's establishment of the Department of Culture and Arts, which was later renamed the National Council for Culture, Arts, and Heritage, also in 1976. Finally, in 1977, the newly established Department of Culture and Arts, under its first director Nasser Al-Othman, opened the Visual Arts Center to the public. These institutions organized international exhibitions in Qatar, showcasing the work of Qatari and regional artists and evoking public interest in the visual arts.

In 1977, Yousef Ahmad, Hassan Al Mulla, and Muhammad Ali founded the country's first art group, "The Three Friends Group". After chartering a bus, they traveled across Qatar, holding small-scale exhibitions where they displayed their works. The Qatar Fine Arts Society was established in 1980 to promote the works of Qatari artists and held its first exhibition in 1981.

Growth of women artists

Development initiatives exclusive to Qatari women artists began in 1980 with the official opening of The Free Studio, an arts education center under the Ministry of Information. With the aim of encouraging artistic talent through courses and public lectures, the center operated on a schedule that allocated two days for female students and three days for male students for two hours daily throughout the year. The first women's session took place on 6 June 1980 and was supervised by Bahraini artist Najah Al-Madani, who played a significant role in educating many women artists. Many fundamental skills were taught to both men and women, including drawing with pencil and pastels, oil painting, Arabic calligraphy, and ceramics.

The state's support for The Free Studio included providing generous stipends for enrolled students, ensuring competent teachers, and facilitating student participation in exhibitions organized by the Department of Culture and Arts. Esteemed international artists were also invited to conduct training courses for the studio participants. Between 1981 and 1985, the studio produced several female artists, including Wafa Al-Hamad, Maryam Abdullah and Jamila Al-Shuraim. Many of these students, including Hessa Al-Muraikhi, who later became the supervisor of the women's section, continued their artistic practice after their training at the studio.

In 1981, an art workshop was opened for women with the aim of providing them with an opportunity to hone their artistic skills. In December 1982, the country's first art exhibition for women was held.

Later developments

Five main art movements emerged in the country by the late 20th century: surrealism, realism, expressionism, abstract art, and calligraphy.

In 1986, Qatar University established its Art Education Department. In the beginning, the program did not have many participants, but it gradually became a more popular field of study over time. The initial 1986 class only had two women students. This increased to eight in 1987 and eventually exceeded 20 female students a few years later. The curriculum included both theoretical courses (covering education, art history, and criticism) and practical courses focused on various art forms (drawing, painting, ceramics, design).

A member of the ruling family, Hassan bin Mohamed bin Ali Al Thani, has been an instrumental figure in developing Qatar's modern art industry since the 1980s. Among his art-related activities was establishing his own museum which doubled as a residency space for Doha-based artists in 1994, and establishing the Mathaf: Arab Museum of Modern Art in 2010 to which he donated his entire art collection, which he had begun assembling in 1986.

In 1998, Department of Culture and Arts was integrated into the newly established National Council for Culture, Arts and Heritage.

The early 2000s saw a significant increase in female artistic talent in Qatar. Many women artists, such as Nadia Al-Mudihki, Amal Al-Atham, and Hanadi Darwish, assumed leadership roles in art centers. Hanadi Darwish, for example, is a plastic artist who became the chairwoman of the Girls Creativity Center, which is under the supervision Ministry of Youth. These centers provided emerging women artists with opportunities for artistic development through various training centers and international courses.

When a quartet comprising Saudi Arabia, the UAE, Bahrain, and Egypt severed all ties with and imposed a blockade of Qatar on 5 June 2017, Qatari artist Ahmed Al-Maadheed created an illustration known as Tamim Almajd (2017), which translates to "Tamim the Glorious". A simple black and white sketch of Emir Tamim bin Hamad Al Thani, beneath which is the text "Tamim Almajd" in the style of Arabic calligraphy, the illustration has become symbolic of Qatari nationalism. During the diplomatic spat, the image was displayed prominently on buildings, in media and art in Qatar.

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