Egyptian Art Institutions and Art Education from 1908 to 1951

Abstract

Abstract The State, envisioning a social function reserved for the fine arts, is engaged in driving the artistic destinies of the country. These politics were imposed as the example of a religion of the state.... But the slow instruction of the masses that has endured since 1908 deviated from the interest of our artists that was formed in the course of these twenty-three years. —Muhammad Nagi, “Une Politique des Beaux-Arts en Egypte,” (circa 1931) The cooperative movement began in Egypt in 1908, but up to now it has not taken the necessary steps. Among the reasons are the sluggish ignorance of the masses, and its neglect by the elite and its weakness of character. The chief cause is that the cooperative movement is mostly official, for which civil servants work, and the civil servants do not act responsibly as they should. —Muhammad ‘Abd Al-Bari, “On the Just Treatment of the Peasant,” Al-Thaqafa (January 1940) Rather, it is in the totality where the goals of different classes are divided and collide within society. These contradictions were opened up in the origins of the social crises by the explosive upheavals. Members from literature and poetry and philosophy struggled over the origins of this opposition and their works were distinguished with a mark of concern when it showed the different parties between the construction of a single class. —Ramsis Yunan, “The Dream and the Reality” (March 1940)

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 4 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.