Inji Aflatoun also spelled as Efflatoun,
(16 April 1924 – 17 April 1989) was an Egyptian painter and activist in the women’s movement.
Inji Aflatoun / Inji Efflatoun / إنجي حسن أفلاطون, Self Portrait Egypt (1958) Mathaf Arab Museum of Modern Art, Doha
She was a “leading spokeswoman for the Marxist-progressive-nationalist-feminist movement in the late 1940s and 1950s”, as well as a “pioneer of modern Egyptian art” and “one of the important Egyptian visual artists”. via Wikipedia
Inji Aflatoun (1924-1989) “Femmes accroupies”, 1960
She was a “leading spokeswoman for the Marxist-progressive-nationalist-feminist movement in the late 1940s and 1950s”, as well as a “pioneer of modern Egyptian art” and “one of the important Egyptian visual artists”
Activism: Aflatoun was born in Cairo in 1924 into a traditional Muslim family she described as “semi-feudal and bourgeois”, her mother Salha Efflatoun, was a French-trained dress-designer who served in the #EgyptianRedCrescentSociety#womenscommittee.
The parents divorced when she and her elder sister, Gulperie, were children. Their mother established a fashion and textile boutique in Cairo and Inji was strongly inspired by her mother’s courage and determination in living as a single working mother. (From : http://www.encyclopedia.mathaf.org.qa/…/Inji-Efflatoun… by #NadiaRadwan)
She discovered Marxism at the Lycée Français du Caire. It was her private art tutor, who introduced her to the life and the struggles of the Egyptian peasants. In 1942, she joined Iskra, a Communist youth party. After graduating from the Fuad I University in Cairo, she was, with Latifa al-Zayyat, a founding member in 1945 of the #RabitatFatayat at jami’a wa al ma’ ahid (League of University and Institutes’ Young Women). The same year she represented the League at the first conference of #WomensInternationalDemocraticFederation in Paris. She wrote Thamanun milyun imraa ma’ana (#EightyMillionWomenwithUs) in 1948 and Nahnu al-nisa al-misriyyat (#WeEgyptianWomen) in 1949.
She was arrested and secretly imprisoned during Nasser’s roundup of communists in 1959. After her release in 1963, Egypt’s Communist party having been dissolved, she devoted most of her time to painting. [Edited] via Wikipedia
more HERE
Inji Efflatoun (Egyptian, 1924-1989) – In the Woman’s Prison (ca. 1960)
Inji Efflatoun (Egyptian, 1924-1989) – Ezba (Farm, 1953)
Inji Efflatoun (Egyptian, 1924-1989) – Girl from Thebes (1967)
Inji Aflatoun | Efflatoun إنجي أفلاطون
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Further Study
Painting from prison: Egypt’s iconic activist, Inji Efflatoun aljazeera.com/video/al-jazeera…
youtube.com/watch?v=diKl9fG5uC…
Artists’ Biographies x
youtube.com/watch?v=lcrAVNM6it…
Four Women of Egypt youtube.com/watch?v=lcrAVNM6it…
#ModernEgyptianart #artandLibertyGroup #feminism #communism #politicalactivism #socialrealism #Egyptianworkingclass #prisonlife #ara
![The image is a black and white photograph depicting two individuals in traditional attire interacting with horses near water. One person, dressed in loose-fitting robes and headwear typical of desert or rural regions, appears to be grooming or examining the horse standing by the riverbank. The other individual is holding what looks like a camera or binoculars up to their face, suggesting they might be taking pictures or observing something closely.
The horses are equipped with saddles, indicating they may have been used for transportation overland before reaching this water source. Their presence suggests that these individuals could be travelers, traders, or locals engaging in daily life activities by the river.
The background shows a dry landscape with sparse vegetation and trees along the banks of the river, hinting at an arid environment possibly located on the periphery of desert regions such as North Africa or Middle East. The photograph exudes a sense of historical context, likely from mid-20th century based on attire and quality of photography.
The caption mentions "Ruiters en paarden in een rivier" which translates to "Horses and riders by a river," referencing the content shown here with an emphasis on horses being a significant aspect of their livelihood or travel. The photographer's name, Ed van der Elsken, suggests that he was known for capturing candid mo [...]](https://social.trom.tf/photo/preview/640/40393179 "The image is a black and white photograph depicting two individuals in traditional attire interacting with horses near water. One person, dressed in loose-fitting robes and headwear typical of desert or rural regions, appears to be grooming or examining the horse standing by the riverbank. The other individual is holding what looks like a camera or binoculars up to their face, suggesting they might be taking pictures or observing something closely.
The horses are equipped with saddles, indicating they may have been used for transportation overland before reaching this water source. Their presence suggests that these individuals could be travelers, traders, or locals engaging in daily life activities by the river.
The background shows a dry landscape with sparse vegetation and trees along the banks of the river, hinting at an arid environment possibly located on the periphery of desert regions such as North Africa or Middle East. The photograph exudes a sense of historical context, likely from mid-20th century based on attire and quality of photography.
The caption mentions \"Ruiters en paarden in een rivier\" which translates to \"Horses and riders by a river,\" referencing the content shown here with an emphasis on horses being a significant aspect of their livelihood or travel. The photographer's name, Ed van der Elsken, suggests that he was known for capturing candid mo [...]")
