The biography was written by art critic and professor Yasser Mongi with a foreword by former Minister of Culture Emad Abu Ghazi. It was published by Al Karma.

The book richly documents Abbas's artistic accomplishments, from his political engagement to his artistic expression. It zooms in on the detailed life of the artist, his background, family, and his context within the bigger picture of the art movement at that time.

The book unfolds into several sections that explore scenes of his life within the historic context of the socio-political and cultural scene of Egypt between the 1940s-1980s.

The book is not an easy read, due to the essential background information about the art movement in Egypt and the world at that time. However, delving into such rich history complete with the paintings illustrated on the opposite page is still a treat for the reader.

Like father, like son
 

Abbas was born in Cairo in 1931, in Sayeda Zeinab district, together with seven siblings. His father, Abbas Fahmy Effendi, was a passionate member of liberal-nationalist Wafd party. His father even joined the Black Hands group during the 1919 Revolution to resist the British occupation in Egypt.

Like his father, Abbas, along with his two older brothers, followed this political path into leftist politics.

Arts and politics
 

As a young artist, Safwat Abbas lived a series of creative conflicts due to the political volatility of Egypt in the 1940s-1960s.

The book shows how Abbas excelled through the "creative tension" which happens when artists are deeply connected with their culture and engage in social causes.

Abbas belonged to the leftist movement in Egypt. Between 1948 and 1952, political changes had a grand impact on the art movement in Egypt, especially the Art and Liberty Group. Abbas was arrested for his political activities between 1952-1953, while he was still a college student.

Although he had dropped out of politics, Abbas was arrested again, for being a member of a leftist group, 1959-1963. The book argues that this second arrest affected him deeply, as he had gotten married and become a father by then.

He first studied graphics at the faculty of fine arts while having his own personal art studio in Ramlet Boulak in 1956. Abbas studied under Maher Raeif (1926-1999) who was a member of the Contemporary Art group, in the mid-1940s, which was deeply nourished by Art and Liberty Group.

According to artist Hussien Abou Zeid, who shared the same art studio at Cairo Atelier with Abbas in the beginning of their career, it is difficult to assign the art of Safwat Abbas to a specific school, but the book argues that Surrealism was a constant through-line in his work.

Female representation
 

Female embodiment, in forms other than just the naked body, is one of the main themes of Abbas's work.

As the author puts it, it is "the embodiment of human illusions, secrets, and internal conflicts, individuality, be it grief, virtues, power or weaknesses."

Though politically oriented, Abbas never used his art as a medium for his politics. He practiced art for art’s sake, and this amplified the human representation in his artwork. He had a profound notion of women in general, which is reflected in his focus on women as almost the main theme in his artwork.

Artist and real life
 

Abbas's favourite quote was from Charlie Chaplin: "The peak of happiness is living in a floral cabin with a loving wife."

He was able to manifest this quote in his own life. In 1957, he married Fatma Nagi, the love of his life. When he proposed to her, he told her: "In my life, there are only three feminine beings and in this order: Egypt, my mother and you."

The newlyweds were neighbours to Fouad Haddad, a vernacular poet known as “the father of poets.” The two families became inseparable.

His marriage lasted a lifetime and resulted in three children and four grandchildren. He wrote and illustrated three children's stories after he his first granddaughter, Reem, was born.

The book argues that he was genuine, humane, kind, honest and a man of principles.

In addition to his artistic career, he was a representative and head of the technical department for the Publishing Department (Dar Al-Maaref), head of the technical department in the magazine's section at the General Book Organization.

Abbas was also the art supervisor for Al-Fikr Al-Moaaser and Al-Ezaa magazine.

His work has been exhibited at the Egyptian Cultural Centre in Paris, the Egyptian Ministry of Culture, the University of Birmingham in England, and Wiesden City Council in Germany. It has also been shown in various private collections in Egypt, Kuwait, France, Germany, America, England, and Italy.

The book includes a quote from Abbas: "I am a happy man in my home and my work, I do not suffer any ailments, but I am highly sensitive to the reality that surrounds me, that makes my brush aches and in protest to such reality, create loud voices of protest."