A recent Canvas Gallery exhibition "Ijaz ul Hassan ---- Retrospective 2005" was a rare treat because Hasan a prominent senior in the Lahore art circles does not enjoy the same wide recognition here in Karachi and amongst the younger generation familiarity with his work is minimal. The Canvas show, a condensed collection of just 32 paintings was nonetheless a concise summation of the artists oeuvre. Covering a span of 40 odd years from 1959 to 2004 the exhibition was a first attempt by a Karachi gallery to show Hassan whole after nearly 30 years.

A man both embodying his time and at odds with it Ijaz ul Hassans art reflects Pakistan's diverse aesthetic progression in the post partition years as well as the artist's personal interaction with his immediate environment as an artist, political activist and art historian.

The early canvases from 1958 to 1966 like "Courtyard scene in Quetta," "Mosque in Quetta," "Laxmi Chauk," and "Winter Morning"are very vivid examples of stylistic techniques prevalent and popular in those days. Hassan indulges in direct representational art in plain, cut shades and thick impasto, impressionist stroke work while painting his city and landscapes, still life, drapery and interior views. His confident grasp over his medium and techniques is fairly evident at this stage but a single defining style had as yet not evolved and he continued to paint in various modes.

It was in the early 70's that his preference for flat colour became dominant in his painterly process and a distinct thought pattern began to emerge in works like "Bathers," 1971, Khooni Chauk 1972 , and "Face to Face." The volatile political climate of the 70's was the catalyst for large art works like "Bangladesh Saga Tryptich." Keenly aware of gross human rights violations and peoples struggle against exploitation in other countries of Asia, Africa, and South America he began to paint suffering humanity. Addressing the downtrodden through his art he opted to express in a simplistic art language that they could understand easily. Formulated from familiar newsprint images, posters and film hoardings his art vocabulary was direct and easily identifiable. His use of flat colour basically stemmed from his interest in political posters printed in flat tonalities. However the artist in him made sure that the aesthetic challenges of concept, technique, composition etc were not compromised by this apparent simplicity. Paintings like "Dancers," "Rifle Butt," and "Face to Face," have populist appeal yet remain artistically sound. The most well known among this collection is "Thah," it now hangs in the Fukuoka Art Museum in Japan. This consists of a film hoarding image of Punjabi film actress Firdous and a Political poster image of a female, communist freedom fighter. Hassan brings subtle humour to this idea of "Thah" a head on collision, a big bang or confrontation between two opposing forces, by interpreting and enacting the gesture through a suggestive and provocative posture of a showbiz queen.

As a political activist Ijaz ul Hassan was involved in student and trade unions and his political activities often resulted in arrests and police investigations. In 1977 during Zia's Martial Law he was among the first activists to be arrested and put under solitary confinement at the Lahore Fort. Censorship was clamped on his art and it was debarred from public exhibition. Hassan circumvented this ban by resorting to protest through symbolism. A pen and ink drawing "View from Window ---Naukhar," executed from his cell window during imprisonment at Naukhar gave birth to his 'window series.' From the doom and gloom of confinement he began painting window views of natural vegetation heralding life and joy. To Hassan the agonized form of the 'Keekar' tree became a symbol of suppressed people as it continued to grow even when cut. Similarly the 'Laburnum' tree is also symbolic as it blooms in hot weather --- a sign of growth in worst conditions. While he was using nature as a metaphor of strength and resilience his interest in the beauty of flora and foliage deepened. His vast nature series contain exquisite portrayals of lilies, leafy shoots, tendrils, vine's and roots. He paints trees, creepers, shrubs and grasses, florescence and elaborate leaves with the sensitivity of one who has come to love their every twist and turn. "I cannot say I am infatuated by nature " he says, and adds, " She unveils to the seduced only. There cannot be a better companion in an estranged world." Indeed his nature portfolio, with or without inherent meaning, is imbued with an old world charm of tranquil, beauteous splendor. A sharp contrast to the bizarre, often weird imagery, that purports as art in the present art climate.

Ijaz ul Hassans academic achievements include a Masters degree in English from Govt College Lahore and St Johns College Cambridge. He studied painting at the Fine Arts Dept, Punjab University and St Martins School of Art, London. He is also a recipient of the Presidents award for Pride Of Performance. The artist also enjoys the status of an art scholar and over the years his contribution to art in this capacity has been considerable. Associated with the National College of Arts, Lahore, he was Head of the Dept of Academics, 1966 - 72, and of Design from 1969 -75. One of the founder members of the Artists Association Punjab, he has been its Chairman from 1986 to date. With the help of a well co - ordinated team the Artists Association under him has organized 19 annual exhibitions in which artists from all regions of Pakistan participate. His scholastic abilities were put to effective use when he published his book "Painting in Pakistan" in 1991. Several Years in the making this was the first art volume that gave an extensive coverage of art in Pakistan since its inception in 1947, right down to the contemporary scene. Based on factual content the book is liberally spiked with his views and knowledge of art and artists as well. Widely read and articulate, the artist is fond of engaging audiences with his discourses and is known to have said, "When I communicate I like to have myself plainly understood." He brings the same openness to his art.