A painting by the iraqi old master artist Diaa Alazzawi

Born in 1939 in the historic Al‑Fadhil district of Baghdad, into a large, culturally vibrant family . He balanced dual studies in archaeology (BA, University of Baghdad, 1962) and fine arts (Diploma, Institute of Fine Arts, 1964), forging a creative fusion of ancient Mesopotamian archaeology and modern European techniques . His archaeological background deeply informed his mature style—drawing on Sumerian, Babylonian, and Assyrian motifs throughout his career .

🎨 Artistic Awakening & Collective Vision (1964–1969)

After graduation, Al‑Azzawi joined prestigious artist collectives, including Hafidh al‑Droubi’s Impressionists and Shakir Hassan Al Said’s Baghdad Modern Art Group . In 1969, alongside peers like Ismail Fattah and Rafa Nasiri, he co-founded the influential New Vision Group and authored its manifesto, Towards a New Vision, advocating for stylistic freedom rooted in Arab heritage . As Director of Baghdad’s Department of Antiquities (1968–1976), he simultaneously curated Iraq’s archaeological legacy while pioneering cultural innovation .

🖼️ Themes & Mediums: Calligraphy, Conflict & Memory (1970s–1980s)

Al‑Azzawi’s signature style belongs to the Hurufiyya movement, integrating Arabic script and calligraphy with abstraction and modern composition . His art responded to political upheaval—drawings like The Land of Sad Oranges (early 1970s) mourn the loss of Palestinian poet Ghassan Kanafani . His monumental, visceral Sabra and Shatila Massacre (1982–83), often called the “Guernica of the Arabs”, resides in Tate Modern and exemplifies his commitment to documenting collective tragedy.

🌍 Exile & International Vision (1976–2000s)

Following Saddam’s rise, Al‑Azzawi relocated to London in 1976, serving as Artistic Director at the Iraqi Cultural Centre (1977–80) . He expanded into sculpture, tapestry, printmaking, and artist’s books (dafatir)—over 100 unique volumes celebrating Arabic literature . Throughout the 2000s, pieces like Mission of Destruction (2004–07) and My Broken Dream responded to the public destruction following the 2003 Iraq War . In 2016, Mathaf in Doha staged a major retrospective featuring over 500 works, and in 2022–23 Oxford’s Ashmolean dedicated a wide-ranging exhibition to his practice.

🖌️ Signature Works

Memories (1973) and Human States (1976): Colorful abstractions evoking Iraqi memory and emotion.
Sabra and Shatila Massacre (1982–83): A gripping, large-scale ink drawing protesting political violence.
Mission of Destruction (2004–07): Towering tribute to post-invasion devastation, shown widely, including at MoMA PS1 .

🏆 Legacy & Cultural Impact

Al‑Azzawi is widely celebrated as a founding father of modern Arab art, lover of Arabic calligraphy, and advocate for art as historical testimony. His works are included in major global collections: Tate Modern, British Museum, V&A, LACMA, Mathaf, Barjeel, Institut du Monde Arabe, Guggenheim Abu Dhabi, and more. He remains active, working between London and Doha, committed to amplifying marginalized histories through art .