Abdul Wahab Marcy (1931-2021) was not just a painter, it was a spleen between ages.
In a formative world where currents and schools wrestling, some artists remain as strong as mountains, digging their identity in the rocks of time, presenting to the world an art that resembles only the spirit of the earth from which they began. One of these is the late artist. Abdul Wahab Marcy (1931-2021)That wasn't just a painter, but a sperm between the ages, a explorer of the roots of Egyptian civilization, and a unique visual language maker that mates between the past and the spirit of the present and in the memory of his death in November, we review with you, my dear reader, his renunciation of the artist and some of his most important work.
Fantastic beginnings and spectacular roots in heritage.
Born in Orientale Province in 1931, graduated at the Faculty of Fine Arts of Cairo in 1957, whose art beginning was expressed in the spirit of the phase, in acts such as After the war, 1957. And... Harman (1958)We see his vulnerability to social realities and national struggles, where his brushes have recorded the tragedies and dreams of Egyptian human beings under precarious political and social conditions.
But the most important station on his trip was his job. At the Egyptian Trace Registration Center. For 18 years (1958-1974), he lived on a daily basis with the walls of temples and cemeteries, drinking the old Egyptian spirit of art, not as a copycat, but as a catastrophe through which he breathed to reshape his features in contemporary forms.
When heroin turns into a global visual language,
Marcy's style is distinct from what you can call it. "The picnic." - As critic Hussein Picard pointed out, where he merged the imaging and prestigious sculpture into one job, he used sand and veil to give his work a touch similar to the walls of temples, and to create a dialogue between the past and the present.
His paintings weren't just a Pharaoh retrieval, they were. A modern heroin.The ancient Egyptian symbols - from humans, animals, plants and stars - are reproducing in sometimes abstract formations, symbolic at other times; the legacy has been transformed into a global visual language, understood by the recipient despite time and space.
International stations and certificates of appreciation
Not only was the star of a ceremonial shining locality, but participated in dozens of international exhibitions, including Alexandria, Vendakia and Paris, to exhibitions in Spain, Germany, Switzerland, Japan and Mexico, whose name was recorded in the most important global artistic seasons, such as Mexico and Spain. Laros and Robert French.And... Who’s Who Americans, as certified for the honorary doctorate from the American University of Marcoise.
A legacy of Khalid art.
Abdul Wahab Marcy left a huge legacy of oil paintings, prints and wallwork, keeping a purely Egyptian spirit in all that had been produced. Modern Egyptian Art Museum By Cairo,Royal Museum In Spain,White House. In America, in addition to private acquisitions around the world, he sells his paintings at world auctions in hundreds of thousands of dollars.
The most interesting artwork.
One of the most notable of its work has become iconat in contemporary Egyptian art:
Egyptians (1963) – A series of paintings embodying Egyptian exclusive identity
Egyptians Egyptian Games (1960-1963) - Actions inspired by Egyptian popular heritage
Games are Egyptian. 
Games are Egyptian. Composition (1974-1980) – A series of experimental actions inspired by the Heroglive Line
Composition Bird and Crocod (1963) – A painting combining ancient Egyptian symbolism with contemporary subject
Bird and crocodile. The warm sand talk. – A chain in which sand was used as a fundamental majesty
The warm sand.
Drilling 
The body's gone. The survival of the soul.
The artist Abdul Wahab Marcy left in November 2021, leaving behind a bus march of creativity and influence, was not an ordinary artist. ID.And...A bridge between ages.And...An example of an art committed to its roots without being a prisoner..
In each of his paintings, we see Egypt speaking in color, lines and symbols, reminding us that the authenticity is not a return to the past, but a continuation of a neighbourhood that is currently breathing and that is creating the future.
