The satirical image attests to the art of caricature in many of the facilities associated with this art, but the Egyptian artist “Amr Fahmy” gave him a popular heritage that tends to archive a community linked to several cinematic, artistic, literary, intellectual and cultural aspects, some of which are carnival, as if he opened his painting on the beach of Alexandria in particular, to complete it. In a comprehensive Egyptian and Arab way, to emphasize the value of man away from the social hierarchy by which art rises away from the labyrinths of classification. His innovations in his drawings, which aesthetically testify to the hints of human depth in the faces he draws, bypassing the social divisions associated first with the people of art, to make the characters populist and endearing faces with an ability that combines the popular human heritage and the visual interactions related to the ability of the art of caricature to translate time as the dance of the artist Tahia Carioca And the singing of the artist “Laila Murad” and many of the artists of the beautiful time, with drawings through which he balances between the artistic tradition and the aesthetic foundations in creating caricature visual pleasure that is far from laughter, but broadcasts silent laughter with pleasure synonymous with the art that they practice. Did the artist “Amr Fahmy” discover the gap between plastic and representational art through the art of caricature? Or did he play the game of popular beauty associated with memory and with the faces that were ingrained in the art world in particular? Or does he reject popular cynicism and embrace the joy emanating from personalities who have achieved strong popularity along the way? Can this be considered a kind of purposeful caricature art that carries several artistically strong aesthetic concepts?
The artist “Amr Fahmy” removed the fuse of the satirical comedy from his art and gave it a comic fun graphic caricature significantly depends on breaking the monotony of the last century, and renewing it as a caricature to belong to his paintings, and to serve as a renewal for those who launched the cinematic art revolution in its beginnings in Egypt and in a popular way. As the Egyptian artist Amr Fahmy refined his caricature brush, so he kept it away from sarcasm, and left it among the conclusions that establish human values with popularity that constitute several comic scenes, which he dealt with through several technical differences in a pictorial framework through which the visual concepts related to the quality of this art are renewed, away from the cynicism that accompanies Usually some methods of this art. He left his paintings open to beautiful times, including the comic ones, and those loaded with the rules of high-end acting that we knew cinematically in Egypt, which reached glory, which makes us wonder what is laughter in Amr Fahmy’s art of caricature? What is the visual pleasure that stimulates the hormones of joy when contemplating the paintings of the artist “Amr Fahmy”? Is there a special caricature culture that can be titled, the artistic fun of the art of journalistic caricature by the artist “Amr Fahmy”? Or, as is the case in the title of this article?..as he visually weighs the movement, and charges the meaning without exaggeration, so that the personal characteristics overshadow what he criticizes and what he leaves in the same recipient in a comic way far from artistic or excessive distortion. The artist “Amr Fahmy’s” popular brushwork in its rational and emotional thinking is an elaborate interaction to create a chemical between the characteristics of the personality and the reactions of the temporal memory about it, and above all, making it solid in the Art Museum and able to dig its artistic presence through his caricature art. Was he able to evoke the compatibility between tradition and innovation in the art of caricature, or is he observant enough to create his own imprint, which also constitutes a kind of artistic representation? And did the famous qualities of his characters mix what is convincing with what is exciting in this art, far from laughing?
