Madiha Omar
Madiha Omar (1908 – 2005 in Aleppo) was an Iraqi artist who was known for incorporating calligraphy with abstract art. She is generally perceived as the first Arab artist to have done this. Therefore, she is seen as the precursor to the Hurufiyya movement.
Also recorded as Madiha Umar
Madiha Omar
- Name
- Madiha Omar
- Birth Name
- مديحة عمر
- Born
- 1908
- Birthplace
- Aleppo
- Died
- 2005
- Place of death
- Amman
- Field
- Abstract art, Modern Arab art
- Education
- Sultaniyya School, Istanbul; Maria Grey Training College, London; George Washington University, Washington (education); Corcoran School of Art, Washington (fine arts)
- Movement
- One Dimension Group; Hurufiyya movement
- Spouse
- Yasin Omar
- Nationality
- Iraq
- Occupation
- painter · calligrapher
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Madiha Omar (1908 – 2005 in Aleppo) was an Iraqi artist who was known for incorporating calligraphy with abstract art. She is generally perceived as the first Arab artist to have done this. Therefore, she is seen as the precursor to the Hurufiyya movement.
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wikidata · Q19662487 · wikipedia · Madiha Omar
In this article
Biography
Biography
Also, Omar was the first woman to receive a scholarship from the Iraqi government to study in Europe.
Key facts
Key facts
• Name — Madiha Omar • Birth Name — مديحة عمر • Born — 1908 • Birthplace — Aleppo • Died — 2005 • Place of death — Amman • Field — Abstract art, Modern Arab art • Education — Sultaniyya School, Istanbul; Maria Grey Training College, London; George Washington University, Washington (education); Corcoran School of Art, Washington (fine arts) • Movement — One Dimension Group; Hurufiyya movement • Spouse — Yasin Omar • Works — Madiha Umar Estate Collection under responsibility of Dara Kittani, her grandson
Life and career
Life and career
Madiha Omar was born in Aleppo, Ottoman Empire, now Syria. Her father was Circassian and her mother was Syrian; mixed parentage was typical in the multicultural Turkish Empire. However, the family moved to Iraq when she was a young girl. Omar attended the Sultaniyya School in Istanbul, where she drew praise from Ali Riza for her painting skills. She then trained as a teacher at the Maria Grey Training College in London in the 1930s, graduating with First class honours in Arts and Crafts in 1933. She then taught painting at the Academy of Fine Arts in Baghdad, becoming head of department before leaving in 1942. She became a naturalised Iraqi. In 1939, she married Yasin Omar, a diplomat. In 1942, she moved to Washington to accompany her husband, whose appointment as a member of the Iraqi Commission took him to the capital. In the US, she came across a book on Arabic calligraphy by Islamic scholar, Nabia Abbott and this inspired her to explore the possibilities of incorporating letters into her artwork. She first began to explore the idea of integrating Arabic letters into painting in the 1940s, and in 1949, with the encouragement of art historian, Richard Ettinghausen, she exhibited a series of 22 hurufist-inspired paintings at Georgetown Public Library in Washington. For this, she generally earns the reputation as the first Arab artist of the modern era to have incorporated Arabic letters into her art, and the first artist to have exhibited such works. Later in the same year, she wrote the book, Arabic Calligraphy: An Element of Inspiration in Abstract Art. In 1952, Omar participated in the Ibn Sina exhibition, held at the Art Institute in Baghdad with 48 paintings, all of which employed Arabic letters in a modern, secular artwork. This event brought her work to the attention of Middle-Eastern artists. She has been variously acclaimed as the pioneer of a movement or as the precursor to the movement that now carries the name, Huryfiyya art movement. She studied education at the George Washington University; then studied fine arts at the Corcoran School of Art, graduating in 1952 and received a MFA in 1959. In 1971 she joined the One Dimension Group founded by Shakir Hassan Al Said; a group that sought to synthesise indigenous art with European trends and successfully bridged the gap between heritage and modernity.
Places
Named by the record
Places
Only places the record itself states, plotted where the house gazetteer settles their coordinates. Nothing is inferred from a name or a nationality.
Aleppo.
Birth place
Amman.
Death place
Primary material
Documents and archives
reference work
- “Madiha Omar”, English Wikipedia, consulted as further reading
Reputable secondary · Wikipedia
authority record
- Wikidata, structured authority record Q19662487: Madiha Omar
General reference · Wikidata
Notes from the source article
Cited by Wikipedia
Notes from the source article
These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.British Museum.
- 2.Anima Gallery, "Madiha Omar," [Biographical Notes], Online: https://www.meemartgallery.com/art_resources.php?id=89
- 3.Oweis, Fayeq. Encyclopedia of Arab American Artists. ABC-CLIO. 255. 2008. 9780313337307.
- 4.Dagher, Charles. Arabic Hurufiyya: Art and Identity. Skira Editore. 2016. 978-8857231518.
- 5.Treichl, C., Art and Language: Explorations in (Post) Modern Thought and Visual Culture, Kassel University Press, 2017, p.
- 6.Nusair, I., "The Cultural Costs of the 2003 US-Led Invasion of Iraq: A Conversation with Art Historian Nada Shabout," Feminist Studies, Vol. 39, No. 1 (2013), p. 128 Online:
- 7.Ali, W., Modern Islamic Art: Development and Continuity, University of Florida Press, 1997, p. 117
- 8.Treichl, C., Art and Language: Explorations in (Post) Modern Thought and Visual Culture, Kassel University Press, 2017, pp. 115-119.
- 9.Mavrakis, N., "The Hurufiyah Art Movement in Middle Eastern Art," McGill Journal of Middle Eastern Studies Blog, Online: https://mjmes.wordpress.com/2013/03/08/article-5/;Tuohy , A. and Masters, C., A-Z Great Modern Artists, Hachette UK, 2015, p. 56; Dadi. I., "Ibrahim El Salahi and Calligraphic Modernism in a Comparative Perspective," South Atlantic Quarterly, 109 (3), 2010 pp 555-576, DOI:https://doi.org/10.1215/00382876-2010-006
- 10.Treichl, C., Art and Language: Explorations in (Post) Modern Thought and Visual Culture, Kassel University Press, 2017, p. 117.
- 11.Bonhams: Madiha Omar (Syria, 1908-2005). www.bonhams.com.
- 12.Lack, Jessica. Why Are We 'Artists'?: 100 World Art Manifestos. Penguin UK. 2017. 9780241236338.
- 13.Al-Ali, N. and Al-Najjar, D., We Are Iraqis: Aesthetics and Politics in a Time of War, Syracuse University Press, 2013, p. 22; Lindgren, A. and Ross, S., The Modernist World, Routledge, 2015, p. 495; Mavrakis, N., "The Hurufiyah Art Movement in Middle Eastern Art," McGill Journal of Middle Eastern Studies Blog, Online; Tuohy, A. and Masters, C., A-Z Great Modern Artists, Hachette UK, 2015, p. 56; Shabout, N.,"Shakir Hassan Al Said: Time and Space in the Work of the Iraqi Artist - A Journey Towards One Dimension," Nafas Art Magazine, May, 2008, Online
References
Citations
References
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reference work
Secondary witnessauthority record
General reference
The Encyclopedia exists whether or not anything is for sale. Corrections are recorded rather than overwritten, and every version of this record is kept. Published 18 August 2026.
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