Farhad Ostovani is a master of combination and juxtaposition. His works somehow manage to remain true both to representation and expression, time and the eternal, the independent living subject and the masterful contour. His trees and flowers, mountains and plains, are so vividly presented that we can see them caught up in their own lives. Yet his ability to draw a stunning line or combine subtle but astonishing colors, remind us just as strongly of the action of the artist’s hand and eye. Heinrich Wölfflin asserted that no artist could do justice to both the linear and the painterly: yet that is precisely what Farhad Ostovani constantly achieves. Moreover, because of his great skill as a painter and his sensitivity as a human being, he also composes both the iconic and the symbolic dimensions of painting, so that we read them together. And in his many series, like Mûrier Blanc or Lilium, or now La Tulipe Blanche, he brings temporality into the painting, and leads us through developments that go back and forth in time: back to his childhood in Iran, or across days of summer where a fading flower embodies love, and our inability to let it fade lives alongside the inevitability of loss. He carries out a counterpoint worthy of Bach: indeed, one of his greatest series is entitled Goldberg Variations. Text by Emily Grosholz, The Hudson Review
Farhad Ostovani was born in northern Iran near the Caspian Sea. He studied at the Department of Fine Arts in Tehran University and later at the École Supérieure des Beaux‐Arts in Paris. He has lived in Egypt, the United States, and in Italy for extended periods. In 1986, he settled permanently in France, and lives between Paris and Dordogne.