Who is Mihri Musfik?

Mihri Müşfik (Mihri meaning Sun), an unfamiliar name in the art world, left in the margins of art history; she was a pioneering female artist, trailblazer, and women’s rights advocate in the early 20th century. She significantly impacted the world of art during the late Ottoman Empire.

Background

Born into a prominent Ottoman family in the late 19th century, Mihri Müşfik challenged societal norms and expectations to become a pioneer for women in the arts and their rights. Her dedication to elevating women’s freedom during the late Ottoman Empire left an indelible mark.

Mihri Rasim Açba, also known as Mihri Müşfik, was born on December 13, 1885, in Kadıköy, Istanbul. She was born into a privileged family, originally from the Abkhazian nobility. Her father, Prince Dr. Ahmed Rasim Pasha, was a high-ranking physician, instructor, and Minister of Medicine during the reign of Sultan Abdulhamid II.

Her mother, Raif Sabiha Bahçelizade (died in 1891), was educated to the standards of high society. She supported her daughter’s passion for art and ensured her proper education. Thanks to her family’s background and high social status, Mihri Müşfik had a unique and privileged life. She had access to all the resources to nurture her passion for art and the freedom to travel abroad. Mihri Müşfik was an ambitious, cosmopolitan young Turkish girl.

Mihri had two siblings, Ahmet Refik, her older brother, and Enise, the middle child. Enise Hanım was the mother of the renowned painter Hale Asaf, a distinguished female artist of the late Ottoman society. Sadly, Hale Asaf met a tragic end at a young age. Mihri was the youngest.

 The Ottoman Empire:

It will help to frame the era and the changes surrounding Mihri Haim’s life to understand her struggles. The Empire gradually lost its international political weight, stagnating in its early glory and leaving behind the Industrial Revolution; it was known as “The Sick Man Europe.”

By the beginning of the 19th century, the Ottoman Empire’s Westernization movements were already well on the way, mostly in fashion, literature, and new ideas. The conversation was open to changes, but women were not included.

Between 1908 and 1922, there was constant unrest on all fronts. Beginning with the Young Turk Revolution, the rise of national identity, and WWI, it ultimately ended with the Empire’s dissolution and the founding of the modern state of Turkey.

Art and Art education were only reserved for men. To receive her art education, Mihri was given expensive art lessons and also sent to Europe.

Mihri Musfik Free Spirit:

After two years of private lessons with the Italian court painter Fausto Zonaro in his studio at 50 Akaratler Avenue in Besiktas, Mihri Müşfik had the opportunity in 1906 to study abroad in exclusive establishments such as the Académie de France in Rome and the École des Beaux-Arts in Paris, a vibrant hub of artistic innovation and creativity during the early 20th century. In Paris, Mihri Müşfik rented an apartment at 52 Montparnasse Avenue.

Thanks to her family connections, she met writers, painters, and the intellectuals of the time. A free spirit, she was also engaged with the feminist movement and was a far-sighted activist for women’s education and rights. While in Paris, she met her future husband, Selami Musfik, who studied Political Science at the Sorbonne. Soon after, they were married, and she took on the name “Lady Mihri Müşfik.” The marriage ended after only two years.

In Paris, she was also significantly influenced by the prominent artists and movements of the time. One of her notable mentors was the renowned French artist Henri Matisse, whose bold use of color and form had a lasting impact on her artistic development.

Studying alongside Matisse and other leading figures in the art world enriched Mihri Müşfik’s perspective and artistic style.

Mihri Musfik was the First Ottoman Women Art Teacher.

With the assistance of Mehmet Cavit, the Minister of Finance of the Ottoman Empire, whom she met at a party in Paris, she was offered a teaching position as a teacher of painting in Darülmuallimat (School for Teachers Education) in 1913,

A great advocate for an art school, the Art School for Women, İnas Sanayi-i Nefise Mektebi (Fine Arts School for Girls), was established on November 1, 1914. Mihri Müşfik continued to push the boundaries of traditional Ottoman art, while women were not officially accepted as students in state academies in Europe and many other countries. She was elected as the first female teacher and then director of the university within the Ottoman Empire.

With her progressive education approach, she introduced live nude drawing classes and plein-air painting sessions, enabling many female artists, such as Nazlı Ecevit, Aliye Berger, and Fahrelnisa Zeid, to flourish.

At the age of 17th, Mihri Hanim, breaking all conventions, ran away to Rome to meet her musician lover, causing a great scandal; the family hid the truth by claiming it was for her studies. After returning to Istanbul in 1912, Mihri Musfik divorced and married İbrahim Zeki Bey, an artist and supporter of her work.

In 1913, she was appointed an art teacher at the Dârülmuallimât, a Teacher Training School for Girls. Mihri played a vital role in establishing the Academy of Fine Arts for Women in 1914, which aimed to provide art education to female students.
She believed that anyone, regardless of gender, should be able to express themselves creatively through art. She succeeded Salih Zeki Bey as the first female director of the Academy.

Achievement:

1920: Mihri Hanim spent time in London, Madrid, and Vienna, where she entertained and associated with elite members of high society. In 1927, she moved to New York, where she had several shows and gave lectures on the advancement of women in art.

She exhibited her paintings at a solo show at the Georges de Maziroff Gallery. During her long career, Mihri painted portraits of many prominent figures. Her works of the period included portraits of the 32nd President of the United States, Franklin D. Roosevelt, inventor Thomas Edison, and poet Edwin Markham, as well as the first Turkish President Mustafa Kemal Atatürk,

In 1923, her close friend poet Gabriel D’Annunzio introduced Müşfik to Pope Benedict in Vatican City. She was the first Muslim painter to paint a Pope ( Pope XV Benedict). This painting is now exhibited in the Vatican Museum.

When her close friend, the poet Tevfik Fikret, created the first death mask in the Ottoman Empire

Amount some of her most famous works include “Woman Dancing,” “Portrait of a Lady,” and “Still Life with Flowers.” Her paintings are characterized by their expressive use of color, dynamic compositions, and emotional depth.

Mihri Müşfik’s work can be found in museums and galleries worldwide, including Le Louvre in Paris and the Istanbul Modern Art Museum. Besides her works, her private correspondence and her interviews published in the press are testimonies that allow us to retrace a strong personality and uncover details of her life, as well as the Pera Museum.

She was the first Ottoman woman to fight to improve Ottoman women’s education. She was also a pioneering female artist and Feminist who worked to break the constraints placed on women in all aspects of their lives.

Mirhi Musfik became a U.S. citizen.

Mihri Müşfik lived during a time of multiple historical turns: World War I ( WWI), the economic depressions, new technological advancements, the dismantling of the Ottoman Empire, and finally, the creation of the new Republic of Turkey in 1922.

On October 23, 1942, Mihri Rasim, aged 43, filed an application for naturalization to become an American citizen. The application shows that she is an artist and teacher and lives with her husband, Salvatore Virzi, at 1947 Broadway, NY.

Later, she purchased a property in Long Island, in Mastic Acres, a new residential area on the east side of Long Island; it is her last known residence, number 27 McGraw Street in Shirley, New York, 11967.
During her life in New York, she continued to give lectures, design magazine covers, teach private art classes, and accept commissions.

The Rumor about her Death and Finances.

In 1988, Taha Toros (1912-2012) published his book “İlk Kadın Ressamlarımız.” This essay uses an excerpt from a letter Mihri Musfik addressed to her niece’s paternal aunt, Rasim, the painter Hale Asaf (1905-1938), in which Rasim declares her remorse for choosing her artistic path; subsequently, all authors have recycled these few lines as factual.

The entire letter expressed her struggles and difficulties breaking through the art world. She was concerned about her niece Hale Asaf, who, too, had chosen to pursue her passion for art.

Mihri’s last years are veiled in mystery. It is argued that she lived in a homeless shelter and was buried in Hard Island in 1954 at the age of 69. Yet no record was found under any of the names she might have used to assert those claims.

In conclusion:

Mihri Müşfik’s legacy is a testament to the transformative power of art, breaking down boundaries and challenging social norms. Her unwavering dedication to her craft and tireless efforts to advance women’s rights in the arts and education have earned her a well-deserved place as a trailblazer in Ottoman art history. However, reviving her life and work proved challenging, as much of her art has been lost to time, and her story remains in mystery.

“We know that Mihri Müşfik used her status, connections, and strong will to champion the advancement of education for women in the field of visual arts. By spotlighting her work, we can provide new opportunities for women to discover and appreciate her contributions and give her the recognition she deserves in the art world.”

reference: Özlem Gülin Dagoglu

Reference: Sebahat Akcay