POP! SIX! SQUISH! CICERO! LIPSCHITZ!

As far as my research took me, there was no Islamic scholar established enough to be painted during that period with the name “Mohammed”. Thus, I most probably believe this painting is in reference to Mahmoud (not Mohamed) Shukri Darouich al Allousi محمود شكري درويش الألوسي, who was an Iraqi Scholar of Islam and the Imam and Khatib of Abu Hanifa Mosque in Al Aadhamya, Baghdad for more than 40 years. Many famous Iraqi and Arab scholars and poets were also taught under his wings; with figures like Iraqi poet Maarouf Al Russafi and Iraqi-Lebanese Christian priest and linguist Anastas Al-Karmali being the most known. Mahmoud acquired his knowledge from his father, The Great al Allousi, who was also an Islamic scholar, poet, writer, and mufasir of the Quran (Ruh al Ma'ani روح المعاني). The most probable figure in this painting, Mahmoud Darouich al Allousi, passed away on the same year of the completion of that painting, and he can be seen here in this photograph resembling the figure in the painting.

The influence of 19th century romanticism is seen heavily here to the extent that one might at first think it is painted by an artist from that region. The lively nature of the colours, the confident brush strokes, the masterful shadowing, and the depiction of figures in a relatively idealized manner are all characteristics of such movement and highlight the influence European art has had on his artistic upbringing.