Hamed Nada, born on November 19, 1924, in the district of Al-Qa’la in Cairo, was a pivotal figure in the Egyptian art scene, whose work spanned several decades and encapsulated the essence of Egyptian culture and identity. Growing up in the popular neighborhood of Sayeda Zeinab, known for its namesake mosque dedicated to the Prophet Muhammad’s daughter, Zeinab, Nada was deeply influenced by his surroundings. His father, responsible for the administration of the mosque, instilled in him a profound connection to his cultural roots. This early exposure to the vibrant life of Cairo, rich in medieval Mamluk buildings and gracious Ottoman-era monuments, would later permeate his artistic vision. Nada's educational journey in art began at a primary school, where he also worked as a critic and illustrator for the literary review Al-Thaqafa (The Culture). He graduated in 1951 and further honed his skills at the Luxor Atelier in 1956, an artists’ residency established by Mohamed Naghi to promote ancient Egyptian art. Here, Nada studied mural paintings and bas-reliefs seen in the temples of the Valley of Thebes. His studies continued abroad when, in 1960, he traveled to Spain on a scholarship to study mural painting at the Real Academia de Bellas Artes de San Fernando in Madrid. Upon his return to Egypt in 1957, he was appointed a teacher of painting at the Faculty of Fine Arts in Alexandria, marking the beginning of a long and distinguished teaching career. In 1946, Nada co-founded the Contemporary Art Group (Jama’at al-Fann al-Mu’asir) alongside Hussein Youssef Amin, Abdel Hadi El-Gazzar, Samir Rafi, and Mahmoud Khalil. This group aimed to create an authentic Egyptian art that reflected the life and multiple facets of their environment. Nada's early works, such as "Pain" (1951), depicted scenes of poverty and struggle, emphasizing the underprivileged characters' living conditions. His paintings were contemporary, establishing a connection between the artist and his audience, and were characterized by the use of motifs belonging to popular Egyptian visual culture. This symbolism, omnipresent in his and the Contemporary Art Group's works, allowed the public to understand and relate to the ideas or theories being presented. Nada's style underwent significant changes from the mid-1950s onwards. He was deeply influenced by the life in Sayeda Zeinab, a district known for attracting fortune-tellers and hosting various festivals and religious celebrations. This vibrant and enchanting environment nourished his imagery, leading to the incorporation of Egyptian folk and exorcism motifs into his work. These elements became his means to fight for Egyptian identity, distinct from the pan-Arab slogans propagated by the military-political complex of his time. Throughout his career, Nada faced the challenges of representing self and society during times of significant social and political change. He complied with the mass pan-Arab ideology propaganda in the fifties and sixties but dramatically broke with this compliance after the defeat of 1967. His paintings, loaded with local Egyptian folk motifs, were a testament to his commitment to portraying the Egyptian identity. Nada's influence extended beyond his artwork through his role as an educator. He was appointed head of the department of painting at the School of Fine Arts in Cairo in 1977 and continued teaching until his retirement in 1984, working part-time as a professor of mural painting. His teaching style was characterized by his loud, warm, and tactile interaction with students, a result of his hearing aid. He imparted the unconditional love and commitment to painting as a medium to his students, leaving a lasting impact on generations of Egyptian artists. Hamed Nada passed away in 1990, leaving behind a legacy that secured his place in both local and regional art history. His works, which have begun to enter international auction houses like Christie's, Sotheby's, and Bonhams, reflect his deserved place in art history. Nada's contributions to Egyptian art and culture continue to be celebrated, and his influence on the art world remains profound.

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