of Zeid's, was seen as upsetting those narratives that explained her art from an ‘Orientalist’ perspective in a way that quite disengaged from the artist herself. Zeid often expressed her modernist sensibilities and denied being influenced by Turkish-based classical art forms. In 1984, she wrote about her canvas Triton Octopus that it was, “my only painting where one guesses my Byzantine side.” She told art critic Édouard Roditi in 1959 ” : I have never been a student of Moslem art’, and ‘I have never been particularly conscious of being an artist in this specifically Turkish tradition…But I’ve also been conscious, at all times, of being an artist of the same generally “abstract” school as many of my American, French or English friends and colleagues. I mean a painter of the “École de Paris” rather than of any more specifically nationalist school.” Her inclinations were towards a more universalist, elemental vision of art-making. In 1952 she told the art critic Julien Alvard that:” I am a means to an end. I transpose the cosmic, magnetic vibrations that rule us… I am not a pole, a centre, a myself, a somebody. I act as a channel for that which should and can be transposed by me … painting is for me, flow, movement, speed, encounters, departures, enlargement that knows no limits." Adila Laïdi-Hanieh's Fahrelnissa Zeid: Painter of Inner Worlds offers a revisionist and definitive account of both her life and career, and emphasises the importance of her immersion in European culture and her shifting mental state on her artistic vision and constantly renewing bold practice. It redefines Fahrelnissa Zeid as one of the most important modernists of the twentieth century. Zeid's colourful family life is described in her daughter Shirin Devrim's book, A Turkish Tapestry: The Shakirs of Istanbul, published in 1994. Major works Fight Against Abstraction, 1947 Resolved Problems, 1948 My Hell, 1951 Towards a Sky, 1953 Someone from the Past, 1980 References Further reading Becker, Wolfgang. Fahr-El-Nissa Zeid: zwischen Orient und Okzident, Gemälde und Zeichnungen. New York: Neue Galerie, 1990. Greenberg, Kerryn, ed. Fahrelnissa Zeid. London: Tate Publishing, 2017. Laïdi-Hanieh, Adila. Fahrelnissa Zeid: Painter of Inner Worlds. London: Art / Books, 2017.. Laïdi-Hanieh, Adila. Fahrelnissa Zeid’s Amman Portraiture: Rituals of Friendship and Reinvention. Bonham’s Modern & Contemporary Middle Eastern Art. November 2018. (2017) Parinaud, André and Shoman, Suha. Fahrelnissa Zeid. Amman: Royal National Jordanian Institute Fahrelnissa Zeid of Fine