Loading Spinner

Solmaz Tohidloo Art for Sale and Sold Prices

b. 1975 -

Solmaz Tohidloo, born in 1975. In 2001, I graduated from the University of Tehran, Faculty of Fine Arts, with a degree in painting, entitled The Battle of the Gods. I started my professional career in 2000 with a solo exhibition at the Czechoslovak Embassy in Tehran. I started my collaboration with Seyhoun Gallery in 2005 and this collaboration continues to this day. During this period, I held numerous solo and group exhibitions at home and abroad. The exhibitions have been held in France, Germany, the United Kingdom, the United States, Lebanon, Bosnia and Herzegovina. In part of my work, I sought to revive Iranian identity and ancient Iranian art, which was declining and disappearing in the modern era. The myths, writings, and motifs within these paintings are a way of preserving what has happened to us, and this expression and idea would have been impossible without the use of ancient history and culture. So I tried to add to my work by using historical symbols and signs in which women themselves played a key role. In my calligraphy paintings, I use lines on the sides of faces and figures, not for the purpose of calligraphy and calligraphy, but for the purpose of historiography.

Read Full Artist Biography

About Solmaz Tohidloo

b. 1975 -

Biography

Solmaz Tohidloo, born in 1975. In 2001, I graduated from the University of Tehran, Faculty of Fine Arts, with a degree in painting, entitled The Battle of the Gods. I started my professional career in 2000 with a solo exhibition at the Czechoslovak Embassy in Tehran. I started my collaboration with Seyhoun Gallery in 2005 and this collaboration continues to this day. During this period, I held numerous solo and group exhibitions at home and abroad. The exhibitions have been held in France, Germany, the United Kingdom, the United States, Lebanon, Bosnia and Herzegovina. In part of my work, I sought to revive Iranian identity and ancient Iranian art, which was declining and disappearing in the modern era. The myths, writings, and motifs within these paintings are a way of preserving what has happened to us, and this expression and idea would have been impossible without the use of ancient history and culture. So I tried to add to my work by using historical symbols and signs in which women themselves played a key role. In my calligraphy paintings, I use lines on the sides of faces and figures, not for the purpose of calligraphy and calligraphy, but for the purpose of historiography.