021-3580 4561 absaschool@yahoo.com

About Us



Welcome to ABSA

Anjuman Behbood-e-Samat-e-Atfal (ABSA) school and college for the deaf is a NGO (Non Government Organization) in Karachi, Pakistan registered with the Social Welfare Department. It is a welfare institution catering to the educational and vocational needs of hearing impaired children. The aim is to provide a structured and friendly environment to help each child realize and develop his capabilities. ABSA is managed by an Executive Committee comprising of honorary members. The expenses of the institution are met entirely through private donations.

Background

  • Anjuman Behbood-e-Samat-e-Atfal (ABSA) was conceived by Mrs. Gohar Ayub whose son Tariq had a profound hearing loss.
  • ABSA was established in 1967 by a group of voluntary workers registered with the Social Welfare Department. Registration No. DSW 797 dated 7th September 1967.
  • The school started with 25 students and 4 teachers in rented premises in P.E.C.H.S, Karachi.
  • Through the efforts of Admiral Ahsan, the Pakistan Defence Officers’ Cooperative Housing Society donated to school a plot of land measuring 3000 Sq. yards in 1968 where the school is presently located.
  • The school started at the present location 26-C, National Highway, Korangi Road, Defence Phase-II Ext., Karachi in 1971 with only two classrooms.
  • Building of the school was gradually constructed with the help of donations between 1968 to 1997. Today it is a three-story building comprising of 50 rooms and 6 halls.

Executive Committee:

Kaukab Shahbaz     (President)

Jamila Habib                (Vice President)

Muleika Sayed             (General Secretary)

Nadia Asif  (Joint Secretary)

Dinaz D . Avari             (Treasurer)



BOUGUEREAU AND THE ITALIAN PEASANT In this second and last installment of gallery talks that I did related to William-Adolphe Bouguereau, I look at the artist’s interest in depicting genre scenes of young shepherdesses and his dedicated use of Italian models in his work.” The Painting Hierarchy Not only did art studios have hierarchies in the nineteenth century, but so did types of paintings themselves. Some were considered “high art”—others low. Your german tutor on the https://onlinetutorforme.com/german-tutors/ choose online German tutor. The lowest were still lifes, paintings of objects; landscapes ranked a bit higher, and portraits even higher than that. After portraits were genre paintings, and at the very top were history paintings, of mythological, religious, or historical subject matter, usually with a moral or other intellectual message. Genre paintings (views of every day life) were considerably more profitable for a painter than history paintings, which tended to do exceedingly well in the Salon (link), but not as well commercially. History paintings were traditionally huge canvases and not well suited for hanging in one’s living room. Bouguereau’s Shepherdesses However, particularly for academic artists, the definition of “every day life” for some of their subjects seems a bit broad. Bouguereau in particular was not the most realistic depictor of the characters in his genre scenes, especially his peasant shepherdesses, above. While his paintings are high in realistic rendering—rendering that is, in fact, even too realistic—the subjects are all highly idealized and perfected. These shepherd girls are beautiful, clean-footed, dressed in unfashionable but intact, clean clothes, and sport noble, solemn expressions. Many of Bouguereau’s shepherdesses, like the one to the left, confront the viewer with a confident gaze, and this girl is no different. Her pose is strong and dynamic, full of angles, and she meets the viewer’s eyes unapologetically.