Many artists have distanced themselves from political involvement and its various controversies to enhance the artistic reality in Iraq. This avoidance might be attributed to their refusal to engage in disputes that do not prioritize the humanitarian aspect. Among these artists, a group called the "Baghdad Group for Modern Art" emerged, founded in 1951 under the leadership of Jawad Saleem. This group distinguished itself by its non-political stance, choosing to express itself through art rather than being drawn into political conflicts.<br /><br />Jawad Mohammed Saleem was born in Ankara in 1920 to Iraqi parents. His father had learned painting as part of his military studies as an officer in the Ottoman Army, which significantly influenced his children's artistic inclinations. Jawad and his sister Suad shared an early passion for art, with Suad preceding him in her love for painting, followed by Nazeeha and their youngest brother Nizar, who also became a painter. In his childhood, Jawad was fond of crafting clay dolls, which showcased his early artistic talent and led him to win an award in the first art exhibition held in Baghdad in 1931, when he was just 11 years old.<br /><br />After completing his secondary education, Jawad received a scholarship to study sculpture in Paris between 1938 and 1939, later moving to Rome for the same purpose. Upon returning to Baghdad, he established the sculpture department at the Institute of Fine Arts, following in the footsteps of his colleague Faiq Hassan, who had previously established the painting department. During this period, Jawad met an English woman named Lorna, who later accompanied him back to Baghdad.<br /><br />Between 1946 and 1949, Jawad studied art in London, where he joined the modern art movement and became one of its prominent figures, advocating for the development of contemporary art. In 1951, he founded the Baghdad Group for Modern Art, with its first manifesto written by Shakir Hassan Al-Said and read by Saleem. This manifesto introduced the concepts of heritage and modernity, marking the beginning of Iraq’s modern artistic movement. His artistic experience was influenced by great artists such as Yahya Al-Wasiti and Pablo Picasso, which led to significant artistic achievements.<br /><br />In 1959, Jawad was commissioned to create a monument commemorating the revolution that overthrew the monarchy in Iraq. However, his "Freedom Monument" was not merely a political tribute; rather, it embodied an artistic resistance, reflecting the spirit of defiance amid Iraq’s continuous political transformations. Despite numerous attempts to remove the monument over the years, it remained a symbol of modern Iraqi art and a landmark of national memory. Unfortunately, Saleem suffered serious health issues while working on the monument, leading to his untimely death in 1961. The monument remains his historical legacy and a testament to his artistic contributions.<br /><br />Even after more than fifty years since his passing, Jawad Saleem’s works—whether paintings or sculptures—continue to captivate audiences. His art paved new horizons for Iraqi visual arts, significantly influencing the evolution of modern art on a global scale.<br /><br />From the beginning of his career, Jawad Saleem focused on realistic forms, incorporating symbolism to serve artistic concepts. He utilized his imagination in an innovative way, giving his works a unique artistic identity while integrating heritage elements into modern forms. His artistic approach was deeply influenced by ancient Mesopotamian and Assyrian artifacts, global artistic movements, and his own personal exploration of creativity.<br /><br />Saleem’s style was distinguished by his continuous emphasis on heritage as part of his artistic identity, making his works a reflection of cultural realities while embracing personal experiences. He focused on harmonizing color and form, inviting both intellectual and spiritual contemplation. His balance between Western visual aesthetics and Iraqi heritage made his art a unique representation of both traditional and contemporary artistic values.<br /><br />What made Jawad Saleem’s style particularly remarkable was his ability to merge his cultural heritage with modern artistic trends, producing works of exceptional aesthetic and artistic value. His approach allowed him to represent Iraqi civilization in a contemporary way, aligning it with global art movements. His influence extended beyond Iraq, impacting various artistic directions across the Arab world.<br /><br />Jawad Saleem never expressed himself through direct representation but instead challenged the idea that form and content must be identical. He sought to develop a humanistic vision through artistic means, emphasizing research and study to achieve the deepest possible artistic expression. His drawings and sculptures were the result of continuous exploration, aimed at discovering the most profound ways to embody human experiences.<br /><br />Sustainable Development Goal Alignment<br /> <br />The Sustainable Development Goal (SDG) related to Jawad Saleem’s work is SDG 11: "Sustainable Cities and Communities," as his artistic contributions help preserve cultural heritage and enrich visual arts as a source of identity and innovation.<br /><br />Almustaqbal University, The First University in Iraq .