Biography
Family and Education
Devrim's artistic inclinations were deeply rooted in his family. He was the son of painter Fahrelnissa Zeid (1901–1991) and modernist writer İzzet Melih Devrim (1887–1966), both of whom significantly influenced his artistic development. His sister, Shirin Devrim (1926–2011), was also prominent in contemporary Turkish theatre, further enriching his creative environment.
Devrim received a French education at Lycée Galatasaray in Istanbul and the Französisches Gymnasium in Berlin. Displaying artistic talent from an early age, he enrolled at the Istanbul Devlet Güzel Sanatlar Akademisi (Istanbul State Academy of Fine Arts) from 1941 to 1946, where he studied under the French painter Léopold Lévy (1882–1966). In 1946, before completing his final exams, he left for Paris to pursue his artistic studies and never returned.
Artistic Development and Career
As an introspective individual, Devrim spent much of his youth reading poetry and studying Byzantine architecture in Istanbul, especially in the Kariye Camii (Chora Church), where he copied many frescoes and mosaics. A visit to Bodrum profoundly influenced his artistic vision, where he stayed with his uncle, the eminent writer Halikarnas Balıkçısı (Cevat Şakir Kabaağaç, 1890–1973). His early paintings, inspired by the vivid and colourful landscapes of the Aegean coast, were exhibited in his first solo show in 1944, receiving critical acclaim.
In 1946, Nejad Devrim moved to Paris, armed with influential introductions. Art historian Thomas Whittemore (1871–1950) provided a letter to Alice B. Toklas (1887–1967), and his father wrote to the author Maurice Bedel (1883–1954). Bedel then introduced Devrim to Galerie Allard, where he had his first solo show in Paris in 1947. This marked a significant milestone as it was the first solo exhibition by a living Turkish artist in the city. Devrim began using his first name, Nejad and formed valuable friendships with prominent art critics, including Charles Estienne (1908–1966) and Jacques Lassaigne (1911–1983). His work gained further recognition, leading to his participation in prestigious exhibitions such as the Salon de Réalités Nouvelles and the Salon de Mai. In 1950, he was featured in the Young Painters in U.S. & France exhibition at the Sidney Janis Gallery in New York alongside Ad Reinhardt, organised by Leo Castelli (1907–1999).
His involvement with Charles Estienne led him to join the Nouvelle École de Paris alongside his mother, Fahrelnissa Zeid (1901–1991). In 1952, he co-founded the Salon d’Octobre with his artist friends, like Jean Degottex (1918–1988), Alexandre Istrati (1915–1991), Jean Messagier (1920–1999), Marcelle Loubchansky (1912–1988) became the president of the Salon d’Octobre and authored its manifesto. This short-lived salon, which operated from 1952 to 1955, featured Parisian artists who explored different interpretations of abstraction. Devrim participated in thematic group exhibitions about lyrical Abstraction throughout the decade, collaborating closely with peers from the vibrant post-war Parisian art scene.
Key Collaborations
In 1953, a monograph titled NEJAD was published by Éditions PLF, featuring texts by Georges Boudaille (1925–1991) and Jacques Lassaigne (1911–1983), marking the first European art book dedicated to a Turkish artist.
The influential art critic Charles Estienne (1908–1966) introduced his work to a larger public and supported him through his publications. During the mid-1950s, he developed a close relationship with the poet and engraver Pierre-André Benoît (1921–1993), known for his artist’s books published under the imprint PAB. They collaborated on two rare editions: Le Temps Naissant (1955) by Tristan Tzara (1896–1963) and Sens de tous les instants (1960) by Paul Éluard (1895–1952). Devrim created intricate black-and-white gravures, reflecting a dynamic abstraction.
In 1957, Alexander Iolas (1908– 1987) organiszed his first solo at the Zodiac Gallery in New York. One year later, a survey of his works was exhibited in the Palais des Beaux-Arts, Brussels, and the Galerie La Cour d’Ingres, Paris. Nejad illustrated Léonce Bourliaguet’s (1895–1965) children's book Pong’s Gang in 1958. He lived between Paris and Warsaw when his studio was demolished at Cité Falguière in the late 1960s.
During two significant visits to the former Soviet Union in 1959–1960 and China in 1962 and 1964, as part of a Polish-Russian-Chinese artistic exchange, Devrim studied extensively in Central Asian architecture and visited cities such as Bukhara, Tashkent and Almaty, where he created notable works of his artistic career. He explored how abstract forms could represent complex personal and social realities, integrating influences from Russian Constructivism and colourful Turkic tile motifs. In 1963, his solo exhibitions at Gallery Westing, Odense, and Galerie La Cour d’Ingres, Paris, and finally, in 1964, at the Society of Chinese Painters, Beijing, presented the results of his extensive Chinese voyages.
Late Years
In 1967, with the assistance of his brother-in-law, Raad Zeid, he obtained a Jordanian diplomatic passport. He embarked on a nomadic European exile, living in Warsaw, Copenhagen, Brussels, and Vienna. His new encounter with Michel Tapié (1909–1987) in 1968 marked a pivotal moment in his career. Tapié, an influential curator and collector, recognised Devrim’s significance as a non-Western artist for post-war European art. He also promoted his work through the exhibitions he organised at the International Center of Aesthetic Research in Turin.
Settling permanently in the small town of Nowy Sącz, Poland, in 1972, Devrim embraced an "inner exile," shifting his focus towards an introspective artistic expression. Although semi-figurative, his late works reflect a quest for inner peace despite the personal struggles and political challenges of living in a former Eastern Bloc country like Poland. In a 1992 interview with the author, he stated, "In those days, being Turkish and, on top of that, being self-exiled made things extremely difficult."
Unlike many self-exiled artists, Devrim’s work does not explicitly depict political turmoil but conveys an introspective exploration of colour and form. His final canvases, though introverted and semi-figurative, exhibit a subtle playfulness that contrasts with his difficult status as a refugee in Poland.
