Behjat Sadr (1924–2009) is the abstract painter of paradoxical traces, blending luxuriant nature with the sharp-edged industrial world in works that spanned the second half of the 20th century. A pioneer of the visual arts in Iran, she was one of the first women artists and professors to appear on the international biennale scene in the early ...

Behjat Sadr Mahallati is born on 29 May, 1924, in Arāk (Iran), in a large, reconstituted family. She is the daughter and first child of Ghamar Amini and Mohammad Sadr Mahallati. Her father is a clergyman working at the Ministry of Justice, fond of poetry, calligraphy, and music.

Behjat Sadr (1924-2009) est la peintre abstraite des traces paradoxales, mêlant la nature la plus foisonnante et le monde industriel le plus tranchant dans ses œuvres qui parcourent la seconde moitié du xxe siècle. Pionnière des arts visuels en Iran, elle fut l’une des premières femmes artistes et enseignantes à se déployer sur la ...

"Behjat Sadr, 33 ans de peinture", Cité Internationale des Arts, Paris. Maison de l’Unesco, Paris

All works by Behjat Sadr can be authenticated by the heir by sending a request to the following address. A certificate will be delivered upon review. [email protected]

Naissance de Behjat Sadr Mahallati le 29 mai 1924 à Arak (Iran), dans une famille nombreuse et recomposée ; fille et premier enfant de Ghamar Amini et Mohammad Sadr Mahallati. Son père est clerc et travaille pour le ministère de la Justice, il est …

"Behjat Sadr, 33 ans de peinture", Cité internationale des Arts, Paris. Maison de l’Unesco, Paris

All works by Behjat Sadr can be authenticated by the heir by sending a request to the following address. A certificate will be delivered upon review.

Conversations with Behjat Sadr by Narmine Sadeg Extract from the publication Behjadt Sadr. Traces, Paris, Zamân Books, 2014. The conversations reproduced in these pages stem from several encounters that took place during the summer of 2001.

Behjat Sadr, an “unclassifiable” member of the generation of artists of the 1960s and 1970s, demonstrated her superior inventiveness through her indifference to representation, favouring the fusion of elements and of physical-atmospheric polarities, …