Moudaress’s painting Banat Al-Murtafaet Al-Shamalia (which translates from Arabic to ‘North Highland Girls’) (1994) is perhaps a reference to his Aleppine origin in Northern Syria. Using a bright bloody red to depict two of his figures’ faces against a rich blue background exemplifies his striking eye for colour. Painted only five years before his passing, this work is a culmination of his lifelong experimental approach and the development of his distinctive style. Falling somewhere between figuration and abstraction, one must look closely to make out his symbolisms.

Fateh Moudarres (Syrian, b. 1922 - d. 1999) was a pioneer of the Modern Art movement in his home country and is widely regarded today as one of Syria’s most important artists. Moudarres’ grid-like compositions of stacked people or houses often depicted themes from Syrian folklore and mythology, as well as scenes of war or loss. In his lifetime, he experienced both the tragic passing of two of his children and at a young age, his father’s murder. 

Before pursuing formal study at the Accademia di Belle Arti in Rome, he was self-taught. He frequented the literary circles of his native Aleppo and became increasingly interested in the Surrealist movement. He experimented with painting, but was also active in the fields of writing and publishing. He later studied at the École des Beaux Arts in Paris for three years in the early 1970s, honing his technical and compositional skills before returning to Syria to teach at Damascus University. This provided him an opportunity to interact with other young Syrian artists. During this time, he was mentored by Syrian artist Wahbi Al-Hariri–– deemed “The Last of the Classicists”–– with whom he would form lifelong friendship.

Moudarres’ works are held in several important private collections including Mathaf: Arab Museum of Modern Art, Doha; Barjeel Art Foundation, Sharjah; and Atassi Foundation, Dubai. He has held solo exhibitions in Beirut, Munich, Rome, Paris, Vienna, and Washington DC among others.