Artists generally choose a specific working mechanism known as "style," which determines the form and details of ceramic artwork. Style serves to organize and arrange all elements of the visual artwork, whether the choice is personal or based on a particular artistic movement. In Iraqi art, style is deliberate and conscious, as artists use it to highlight their uniqueness and individuality.<br /><br />Contemporary Iraqi art emerged in the twentieth century, with early painters focusing on depicting nature as it is, without relying on preliminary sketches. According to Dr. Khalid Al-Jader, the beginnings of contemporary art in Iraq can be traced back to the period after World War I, particularly in painting and sculpture. One of the earliest artistic attempts in this context was by artist Abdul Qadir Al-Rassam, who was an officer in the Ottoman army and focused on accurately portraying nature. Other artists, such as Haj Sulaim Ali, Othman Bek, and Hassan Sami, as well as contemporary artists like Asim Hafiz and Muhammad Zaki, contributed to the development of this art form.<br /><br />After returning from studies abroad, Iraqi artists enriched the local art scene with new techniques and experiences. They established the Institute of Fine Arts in 1941, led by artist Faeq Hassan. The sculpture department was founded under the leadership of Jawad Salim, alongside the establishment of the Friends of Art Society in 1941 and the Free Studio in 1942, chaired by Hafidh Al-Droubi. Additionally, the magazine Modern Thought was launched in 1945 under the supervision of artist Jamil Hammoudi.<br /><br />The Iraqi visual arts movement experienced significant growth in the 1950s and 1960s, with the opening of the Academy of Fine Arts and the National Museum. Distinctive artistic groups emerged, such as the Modernists Group in 1965 and the New Vision Group in 1969. Furthermore, the One-Dimension Group was founded in 1971, aiming to explore the aspects of Arab civilizations.<br /><br />During this period, various new artistic approaches emerged, including unique personal styles among artists. One of the most notable initiatives was the Impressionists Group, founded by Hafidh Al-Droubi. Initially, the group adopted the Impressionist style as a means of artistic expression before each member later developed their own unique approach.<br /><br />Contemporary Iraqi art became rich with new artistic forms, thanks to direct influence and exposure to modern schools of painting and artistic trends. The Impressionist style played a pivotal role in the transition to more modern and contemporary artistic methods in Iraq, reflecting the evolution of European art. Every artwork follows a specific methodology in its composition, including form, color, and technique, all of which are linked to the artist’s unique style. Style serves as an organizational process that reflects the artist’s systematic approach, rejecting randomness and carefully selecting forms. Artistic style embodies characteristics that define the artist’s unique perception, shaping the complete structure of the style, its forms, and relationships, along with the internal factors influencing artistic expression. This includes the artist’s perspective on objects and forms within their work.<br /><br />This is evident in the artistic approach of Faeq Hassan, who focused on realistically portraying scenes with a structured use of color and form that reflected academic principles and the environment he belonged to. His style was characterized by a mix of realism to convey ideas and abstraction and symbolism to communicate meaning to the audience. Faeq Hassan was known for his diverse artistic styles, ranging from realism to abstraction, symbolism, and documentation, utilizing objective aesthetics in his work.<br /><br />Throughout his artistic journey, Faeq Hassan’s style underwent several transformations, influenced by modern art movements. His works displayed a variety of themes, ideas, and expressive techniques, shifting from Impressionism to abstraction and then to a form of realism that sought to depict the lives of rural communities. He successfully incorporated his academic and artistic experiences into his works, which included natural landscapes and realistic portrayals. Additionally, he excelled in live model drawing during his teaching career, using a distinct color distribution technique. Through his work, he expressed the accumulated academic and artistic knowledge he had gained, translating it into realistic and naturalistic scenes.<br /><br />Faeq Hassan was firmly committed to realism in his art, avoiding any strange or unconventional elements. He remained deeply connected to the reality surrounding him, considering it an unwavering principle that he could not compromise. Reality served as the primary inspiration for many of his ideas and emotions, enabling him to develop a unique artistic style that distinguished him from others. This approach was similar to that of artist Gustave Courbet, who depicted the lives of the working class and peasants with realistic detail. Like Courbet, Faeq Hassan remained dedicated to realism, adapting elements of abstraction to harmonize with his realistic vision while eliminating any hybrid influences in his art.<br /><br />Faeq Hassan also played a crucial role in shaping the Iraqi visual arts movement as a whole. He was responsible for establishing the painting department at the Institute of Fine Arts and served as a professor of both theoretical and practical subjects, including sketching, color theory, perspective, and design. Through this, he laid the foundation for academic art curricula and applied the principles of academic painting. His work opened new artistic horizons and had a profound influence on the Iraqi artistic direction, offering a precise depiction of Iraqi reality in all its social, urban, and national aspects. His paintings closely reflected Iraqi culture and traditions, executed with high technical skill and artistic mastery. He revived the significance of local and national themes in his artworks, striving to capture the Iraqi identity and reinforcing national sentiment through his artistic language.<br /><br />The article achieves Sustainable Development Goal 4: Quality Education, as it enhances knowledge about the history of Iraqi visual arts and highlights various artistic styles and their influence in shaping cultural and artistic identity. It also contributes to raising awareness about the role of art in documenting social and historical realities, supporting the preservation of cultural heritage, and advancing arts as an academic and professional field.<br /><br /><br />Almustaqbal University, the number one university in Iraq