Paul Guiragossian, Elie Kanaan and Chafic Abboud at the Saray of Bikfaya
An Article by D.M. ( 1100 words, 6 min. read)
Three masters, three remarkable artistic languages and a century of Lebanese painting celebrated within the magnificent stone walls of the Saray of Bikfaya. Un siècle, trois regards brings together an outstanding selection of oil paintings by Paul Guiragossian, Elie Kanaan and Chafic Abboud, three pillars of Lebanese modern art, all born in 1926. The encounter is visually impressive. Large canvases, magnificent compositions and extraordinary brushwork reveal the technical mastery of artists who profoundly influenced the evolution of painting in Lebanon. The beauty of the historic building enhances the experience, its ancient stones offering a wonderful setting for these masterpieces.
Guiragossian’s Humanity
Paul Guiragossian’s paintings immediately command attention through their unmistakable silhouettes, elongated figures and extraordinary treatment of oil paint. His human forms emerge from thick, vertical brushstrokes that give them an almost sculptural dimension.
Several works explore motherhood, family and human relationships. Figures gather, embrace or lean towards one another, their faces reduced to simple shapes while their bodies communicate profound emotions.
One particularly beautiful composition brings together three figures in warm ochres, orange and pale blue. Another, dominated by luminous yellow, transforms an intimate human encounter into a nearly monochromatic arrangement. Elsewhere, groups of elongated silhouettes create rhythmic compositions in which figuration approaches abstraction.
Guiragossian’s Armenian heritage and family history profoundly influenced his artistic vision. His exploration of the human condition, particularly themes of displacement, belonging and maternal affection, contributed to the development of a distinctive expressionist language within Lebanese modernism. His paintings combine emotional intensity with remarkable formal freedom, transforming the human figure into a universal symbol of humanity.
Although the selection displayed is rich and fulfilling, we could have seen more works that convey the mastery of Guiragossian at different periods of his life.
Kanaan’s Chromatic Emotions
Elie Kanaan offers a fascinating exploration of color as an emotional language. His paintings move between recognizable landscapes and increasingly abstract compositions, where forms dissolve into vibrant chromatic arrangements.
The selection includes magnificent canvases dominated by intense reds, deep blues, violets and greens. One particularly striking composition combines crimson and cobalt with delicate passages of turquoise and white. Broad applications of paint alternate with smaller, spontaneous marks, creating a remarkable sense of movement.
Another canvas explores softer blues, greens and lavender, allowing colors to merge through subtle transitions. His maritime scenes retain recognizable elements, such as boats and distant horizons, while transforming the surrounding landscape into an expressive arrangement of light and pigment.
Associated with the development of lyrical abstraction, Kanaan cultivated a personal approach in which color became the principal vehicle of emotion. His brushwork reveals a delicate balance between spontaneity and structure, allowing the painted surface to communicate sensations that extend beyond the represented subject.
Abboud’s Abstractions
Chafic Abboud’s paintings reveal an exceptional understanding of composition, texture and chromatic harmony. His artistic language developed through the transformation of landscapes, interiors and everyday objects into sophisticated abstract structures.
A magnificent large canvas dominated by brilliant yellow immediately attracts attention. Small fragments of blue, green, pink and white animate the luminous surface, creating a complex arrangement of shapes and textures.
Other works explore restrained palettes of greys, whites and muted blues. Bold brushstrokes intersect with diagonal lines, scraped passages and delicate layers of pigment. Architectural fragments occasionally emerge from the compositions, suggesting the artist’s continuing dialogue with the visible world.
Closely associated with the Parisian movement of lyrical abstraction, Abboud developed a distinctive pictorial vocabulary influenced by European modernism and his Lebanese memories. His mastery of oil painting is particularly evident in the density of his surfaces, where successive applications of color create remarkable depth and visual complexity.
For a commemorative centennial, we would have liked to see more works for Abboud on display, particularly ones that reflect his outstanding abstractions with more vivid colors and dashing bold strikes.
Stones and Paintings
The Saray of Bikfaya provides an exceptional architectural setting. Its ancient stone walls, vaulted spaces and warm lighting establish a beautiful relationship between the paintings and their surroundings.
The rough textures of the stones emphasize the richness of the painted surfaces, while the generous dimensions of several canvases allow visitors to appreciate every movement of the brush.
There is something particularly moving about encountering these masterpieces within a building belonging to Lebanon’s architectural heritage. The dialogue between historical architecture and modern painting creates an atmosphere of intimacy and cultural richness.
Missing Narratives
Despite the outstanding selection and magnificent setting, the exhibition suffers from a significant absence of curatorial direction.
The paintings are displayed throughout the rooms with little apparent narrative connecting them. Beyond basic identification labels, visitors are offered minimal information about the artists’ historical importance, their artistic evolution or the significance of the selected works.
For a centennial celebrating three major figures of Lebanese modernism, this is particularly regrettable.
Why were these paintings chosen? What periods of their careers do they represent? Where do they come from? Which collections have made them available? What stories accompany their creation?
The works belong to highly accomplished periods of the artists’ careers, and their provenance, individual histories and artistic significance would have considerably enriched the experience.
A thoughtful curatorial statement could have explored the historical circumstances shared by these three painters, their different artistic trajectories and their respective contributions to Lebanese modernism.
Born in the same year, they witnessed a century marked by profound artistic, political and cultural transformations. Their careers accompanied the emergence of modern Lebanese painting and its growing international recognition.
Such an anniversary offers an exceptional opportunity to revisit this history and introduce younger generations to the artists who shaped it.
Beyond Celebration
The initiative by the municipality of Bikfaya and Mhaydsseh, in collaboration with La Maison du Futur and the Association of Lebanese Artists, deserves recognition for bringing together such an impressive collection of masterpieces.
The artistic pleasure is immense, and the quality of the paintings makes the visit particularly rewarding. Yet a centennial celebration also represents an opportunity to preserve and transmit cultural memory.
One leaves the Saray deeply impressed by the extraordinary talent of Guiragossian, Kanaan and Abboud, while wishing that their stories had accompanied the paintings. A carefully developed curatorial narrative would have given this remarkable gathering greater historical significance and offered visitors a deeper understanding of the artists’ achievements.
A hundred years after their birth, these three masters deserve a tribute worthy of their immense contribution to the history of Lebanese art.
Un siècle, trois regards, Saray of Bikfaya, November 12–20, 2026. Open daily from 11 a.m. to 5 p.m.
