#LebaneseArtist hashtag - Bluesky

@chieya-tokyo.bsky.social

1 week ago

A quiet table, charged with tension.
Mona Hatoum, Home, 1999.
Unable to return home after the Lebanese Civil War, she built a life in exile—and redefined “home” through art.

#ContemporaryArt #LebaneseArtist

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Cortado Concerto 🎼☕

@cortadoconcerto.bsky.social

3 months ago

A full length image of Abdel Hamid Baalbaki's "The War Mural" depicting a fictional war between two sides. Images include a red rooster coming out of an egg upon which an owl sits, civilians and people burning, two soldiers with Lance's pointed to each other, a green goblin creature with a grim expression on its face, and a woman clad in black holding mourning over a deceased, emaciated figure.

A close-up image of Abdel Hamid Baalbaki's "The War Mural" depicting a fictional war between two sides. The figures are drawn in various shades of orange. Some are naked, some are dressed in white robes. All have looks of pain and panic on their face.

Feels apt to share this recent painting I saw, "The War Mural" by Abdel Hamid Baal Ali that currently hangs in The Sursock Museum.
It was...visceral to view in a way I can't describe.
#abdelhamidbaalbaki #baalbaki #lebaneseart #lebaneseartist #thesursockmuseum #baalbakiart #sursockart

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Michael

@mdstamper.bsky.social

3 months ago

With the title “Burnout Culture,” this portrait reframes burnout as a social condition rather than an individual failing. The composition reads like two climates at once: depletion and heaviness on the left, urgency and heat on the right, as if the world beside her is constantly on fire. A front-facing woman fills the center of the canvas, her gaze direct yet weary. From each eye, vivid blue tears stream down in heavy saturated drips. She wears a layered hijab in cream and honey tones, outlined in dark lines that sharpen each fold around her cheeks and neck. Her skin is modeled in warm browns and tans with cool shadows under the eyes and along the jaw as thick brows frame her dark, reflective eyes. A patterned dress of deep cobalt dotted with red and scattered with yellow leaves adds a bright, restless rhythm across her torso. Behind her, the space splits: on the left, a flat brown field and dark smoke while on the right, a pale sky erupts into curling ribbons of red, pink, orange, and yellow flame. The still figure and the burning background collide, making the body feel held upright under pressure. Those electric tears refuse restraint. They insist that exhaustion and grief are visible, bodily realities. Lebanese Australian artist and advocate Amani Haydar (أماني حيدر) has spoken about returning to art when words felt unsafe, and her memoir The “Mother Wound” (2021) traces trauma, domestic violence, and systemic inequality. In that context, the woman’s steady stare becomes a form of witness as she does not perform “resilience” for comfort. Instead, she asks us to notice what burnout is made of like unpaid care, gendered expectations, cultural pressures to stay composed, and institutions that reward overextension. The flames might be external demands and the tears their private cost. Together, they point toward a harder question: what would it take to build a culture where rest and safety are not earned, but expected?

“Burnout Culture” by Amani Haydar (Lebanese Australian) - Acrylic on canvas / 2019 - Museum of Art and Culture, yapang (New South Wales, Australia) #WomenInArt #AmaniHaydar #أماني_حيدر #Haydar #MACyapang #WomensArt #WomanArtist #WomenArtists #art #artText #acrylic #LebaneseArtist #WomenPaintingWomen

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Michael

@mdstamper.bsky.social

3 months ago

$Painted in 1943, this self-portrait comes from Lebanese artist Saloua Raouda Choucair’s early, searching years before her long Paris stay. With a background in natural sciences, she valued systems that could be tested and rebuilt. Color becomes structure and light behaves like geometry. That same year she spent 7 months in Cairo, Egypt during wartime closures. With museums shut, she studied old mosques and buildings, absorbing the logic of Islamic design of how line, proportion, and repetition can carry meaning without relying on illusionistic depth. She depicts her own headshot with a composed and unsentimental expression. A pale headscarf wraps closely around her hair, forming an oval frame. Her skin is built from light, warm-beige tones interrupted by cool blue shadow and soft rose, so the face reads as overlapping planes rather than rounded flesh. Dark arched brows and half-lidded eyes meet ours with steady, slightly weary calm. Her muted brick-red mouth remains closed. She wears a brown coat over a green garment with a squared neckline, while the background dissolves into blocks of light brown, grey, and blue, keeping our attention on the geometry of her features. Identity is carried less by setting than by method as the self is assembled plane by plane and fused into one steady gaze. Around this period, while taking philosophy classes at the American University of Beirut, she was told Greek art was “superior” because Islamic art lacked human images. This remark sharpened her commitment to the visual language she found essential. Seen in retrospect, the fractured planes of her face bridge portraiture and the modular abstractions and interlocking sculptures she would later develop, often compared to verses of Arabic poetry. The painting asks us to meet her not as an emblem, but as a thinker at work who is modern, rigorous, and quietly refusing any hierarchy that would place her culture, or her gender, at the margins.$

Painted in 1943, this self-portrait comes from Lebanese artist Saloua Raouda Choucair’s early, searching years before her long Paris stay. With a background in natural sciences, she valued systems that could be tested and rebuilt. Color becomes structure and light behaves like geometry. That same year she spent 7 months in Cairo, Egypt during wartime closures. With museums shut, she studied old mosques and buildings, absorbing the logic of Islamic design of how line, proportion, and repetition can carry meaning without relying on illusionistic depth. She depicts her own headshot with a composed and unsentimental expression. A pale headscarf wraps closely around her hair, forming an oval frame. Her skin is built from light, warm-beige tones interrupted by cool blue shadow and soft rose, so the face reads as overlapping planes rather than rounded flesh. Dark arched brows and half-lidded eyes meet ours with steady, slightly weary calm. Her muted brick-red mouth remains closed. She wears a brown coat over a green garment with a squared neckline, while the background dissolves into blocks of light brown, grey, and blue, keeping our attention on the geometry of her features. Identity is carried less by setting than by method as the self is assembled plane by plane and fused into one steady gaze. Around this period, while taking philosophy classes at the American University of Beirut, she was told Greek art was “superior” because Islamic art lacked human images. This remark sharpened her commitment to the visual language she found essential. Seen in retrospect, the fractured planes of her face bridge portraiture and the modular abstractions and interlocking sculptures she would later develop, often compared to verses of Arabic poetry. The painting asks us to meet her not as an emblem, but as a thinker at work who is modern, rigorous, and quietly refusing any hierarchy that would place her culture, or her gender, at the margins.

“Self Portrait” by سلوى روضة شقير / Saloua Raouda Choucair (Lebanese) - Oil on board / 1943 - Tate Modern (London, UK) #WomenInArt #art #artText #arte #SalouaRaoudaChoucair #سلوىروضةشقير #Choucair #TateModern #LebaneseArtist #LebaneseArt #SelfPortrait #ModernArt #WomensArt #WomanArtist #WomenArtists

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Showcase

@showcasedaily.com

7 months ago

🇱🇧 Lebanese artist #BernardYagee found refuge in music at six, wrote his first song at eight, and never looked back.

Now he pours that same heart into pop that tells the truth and doesn’t flinch.

🎧 Let this one breathe → www.showcasedaily.com?sid=1236

#Showcase #LebaneseArtist #LACollegeOfMusic

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