NEW WORLD LEADERS
Drawings
Lebanese Bekaa Valley Peasants
More than 300 plates
PUBLISHED IN GREAT BRITAIN
Drawings
Lebanese Bekaa Valley Peasants More than 300 plates
Published in Great Britain
Author of:
PROBLEMS OF MODERN ART, 1968 SPELLING THE THOUGHT, first edition 1994, second edition 2003 MONEY AND INFLATION ORIGINAL TREATISE, first edition 2001 WEALTH OF THE PEOPLE, first edition 2006 ECONOMIC CRISIS SOLUTION, first edition 2009
Table of Contents Acknowledgements..................................................................................... i Lebanese Bekaa Valley Peasants ............................................................1 BEKAA VALLEY OF LEBANON SOURCE OF INSPIRATION ..................................... 1 BROAD THEME REQUIRED IN FACE OF TRIVIALITY .............................................. 3 ARE THESE DRAWINGS JUST ABOUT RECORDING PEASANT LIFE?................... 5 ASCENT OF DRAWING FROM SKETCH TO INDEPENDENT ART ........................... 7 LACK OF CLARITY IN PERCEIVING THE CONCEPT DRAWING ........................... 10 ART IS THE LAST RESORT IF MORAL LAWS COLLAPSE ....................................... 12
Biography ...................................................................................................15 Chronology of Accomplishments ....................................................................................... 16
Plates ...........................................................................................................17 Tribute to beloved people ......................................................................19 Bekaa Peasants in Classical Style........................................................79 Scenes from daily life in the field .......................................................123 Geometrical abstractions with figurative groups ..............................153 Fury and protest..................................................................................165 Landscapes from Bekaa and other Lebanese Areas ..........................179
First published in Great Britain in 2011
Copyright 2011 by F. KACH Printed in Great Britain
Email: falkach@yahoo.com
Acknowledgements This book was made possible with the encouragement of my family and many friends who, like me, believed that this form of art should be introduced to a wider public. Many thanks to all of them. My special gratitude goes to my son Melhem who made this wish come true by designing and implementing the layout of the book. I am also thankful to my daughter Reda Khoueiri for editing the book.
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Lebanese Bekaa Valley Peasants
Lebanese Bekaa Valley Peasants BEKAA VALLEY OF LEBANON SOURCE OF INSPIRATION This book is meant to introduce a selection of the many drawings I produced over the years of the peasants of the Bekaa Valley, especially the drawings I produced before I was compelled to leave my country Lebanon in 1983.
Several motives are behind the decision to publish this book.
It is
primarily meant to pay tribute to this category of people in general, that constitutes the foundation of a healthy society, and to satisfy the interest of those who love this art because it reminds them of their ancestry and their noble roots, and affirms their relationship with the land they lived, or still live on. It also aims to encourage new generations of intellectuals, especially young artists, to scoop up from this rich source of inspiration important virtues essential for art. At the same time, this book provides an opportunity to draw some useful conclusions in an attempt to contribute to the improvement of art of drawing in general, and for some countries, where this art is still in a developing stage, to try to promote and protect it.
Bekaa Valley of Lebanon is a fertile arable land about 120 Km in length and 16 Km in average width, once considered by the Roman Empire to be a huge reservoir of grain. It constitutes about 20% of the total area of Lebanon and is very valuable because it is able to provide it with economic security, particularly in difficult times, and therefore contributes a great deal to the viability and stability of the country. In addition to its agrarian 1
Lebanese Bekaa Valley Peasants
importance, Bekaa is a large source of good men and women who play an important role in different sectors of the country, and the direct cause of the genesis of the city of Zahle, capital of Bekaa, as well as the city of Baalbek and many other towns and villages.
I
emphasize
importance
of
the this
valley to explain why I dedicated a big part of my artistic activity to it and to the people who live on it. After all, this is the place where I was born
and
spent
my
The artist on the roof of his paternal house in Houch
youth and I have a
Al-Omara Zahle in the middle of the Bekaa. Picture
natural attachment to
taken after an absence of about three decades
it, this is also where my parents and ancestors lived and played an immaculate role inside the local agrarian community for a long period of time. I was lucky to be born in that environment because this opportunity had a marking impact on my intellectual activity and I treasured it all my life.
Like all peasants of the world, Bekaa Valley peasants are peaceful and loving as their generous land spares them from any intent for aggression. Their work, associated with giving, is full of joy and excitement; their mind reflects the beauty of the universe because they are always absorbed by what the seasons bring them: the clear or cloudy sky, the rain, the gentle breeze, the furious storm, the infinity of colored things; they are
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Lebanese Bekaa Valley Peasants
busy with the perpetual miraculous growth of their plantations and their precious harvest. This intimate association with the elements of nature gives them an incomparable spiritual feature. I remember fondly the energy and love that men and women alike put into their work, their optimism, their skill at working together as a group, and I remember their singing, dancing and love of jokes‌This is, without doubt, a healthy society worth to look carefully into and learn from. BROAD THEME REQUIRED IN FACE OF TRIVIALITY The western modern art nowadays breaks many basic rules and conditions that art normally stipulates.
It is obviously facing a serious problem
concerning the theme or the subject, whereas the world is packed with big events
and
social
Sheikh Melhem Al-Kach
dramatic
father of the artist and
transformations that
elder grandson of sheikh Hanna who were both a
could
serve
inspiration.
as
source of inspiration for
This
the artist
disparity between an astonishing
reality
and an art that is superficial
and
insignificant in its theme, is the result of commercial motivation, and the resulting triviality is spreading everywhere due to the expansion of the art market. Those who exploit art commercially are determined to minimize and sometimes ridicule the subject on which a painting is based, whilst the subject is the fundamental justification of any painting and any work of art, because without an interesting subject there will be no message and therefore the spectator will be confused and lost. Art dealers are able to 3
Lebanese Bekaa Valley Peasants
disregard esthetic principles and replace them with judgments based purely on demagogy in order to have a free hand in manipulating the market.
To sum it up I say: excellence is no longer measured by long established criteria; instead the judgment is nowadays dependant on the people who control the market and impose on the buyer their own value system when it comes to the evaluation of a work of art.
On the other hand there are no more avenues for the artists’ survival other than the art market. While in the past commissions ordered by wealthy privates, or governments or big institutions were the principal source of living for the artists, all those promoters are now polarized by the same market and are forced to abandon any initiative that could help, and to obey instead what the market dictates.
I took notice early on of this unpleasant situation and found myself left with a serious question: if I refuse the ideas in vogue imposed by the market, what would the alternative be? fortunately because I was already attracted by the subject of peasant life with all the variety and details so familiar to me, it did not take me too long to make up my mind and impatiently started selecting from that abundant source of inspiration the many situations we find in peasant life. Surprisingly, even my early works were kindly received by both the public and the media, if not because of my excellence, more so because of my attitude and my courage since the public himself was fed up with what was offered to him. Here I quote Victor Hakim a senior art critic who reflects the opinion of the media, in his comment about this work, he said: “No other artist before
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Lebanese Bekaa Valley Peasants
Fawzi Al-Kach had thought to praise the wise agrarian of the Haut Plateau of the Bekaa, our national granary. The Plateau is represented in its social and spiritual reality with a style that reflects the vivid reality” Victor Hakim (La Revue du Liban). (The text in french : “Aucun peintre avant Fawzi Al-Kach n’avait songe a chanter la sage agraire du Haut plateau de la Bekaa, notre grenier national. Le plateau est représenté dans sa réalité sociale et spirituelle en un style reflétant la réalité vivante”).
Today I feel truly happy and lucky to have produced a good number of these scenes with genuine content, and I feel humbled by the good reception of my compatriots to what I have done at that time.
A number of lessons can be learned from this experience, among them, that it is possible to defy the state of immobility of the subject that endangered art by rendering it insignificant and inefficient, and to mobilize the public so that he can give his help in order to create a healthy normal art originating from the real source of all intellectual activities which is the vivid real life whatever it might be and not necessarily agrarian life only. ARE THESE DRAWINGS JUST ABOUT RECORDING PEASANT LIFE? My intention from these drawings was to show the attitude of those peasants in facing the reality with the modest means they possess; if they accept the challenge or they capitulate or revolt against what is after all an opportunity to survive in spite of the difficulties this kind of life imposes on them. I testify that those peasants are driven by courage and optimism and are attached to their land in spite of the obstacles they have 5
Lebanese Bekaa Valley Peasants
to overcome; in fact they always run short of water to irrigate their plantation, they always face the problem of marketing their product, they never feel protected by the government in case of a disaster or any difficulty, they are systematically short of capital and they borrow at phenomenal interest rates that make their business an absurd activity. But still they have lived on this land for a long time and it was consistently flourishing and productive with their perseverance and attachment to it.
My mission as an artist was to show this attitude in a convincing direct way as usually happens in other forms of art such as good theatre or novels. Therefore every line should be an esthetic support to the idea in question and should reflect the spirit of the subject it is expressing. Also the chosen themes and symbols should be indicative and convincing in conveying the message to the viewer: a proud horseman on his trotting horse expresses his delight, a mother suckling her baby expresses her joy at nurturing her newborn, an old man leaning on a sack to rest relays his gratification for this moment of peace … All those individuals testify to their contentment in that world where they are sovereign.
It is a
confident handshake with nature showing satisfaction in spite of life’s pressure.
Another theme addressed in many scenes testifies to the acceptance of the other inside that society in order to form a healthy homogenous group. It depicts the way those peasants cooperate, the way they help each other, the way they respond to each other’s attitude and actions…A girl offering water to a thirsty old man, an exhausted women helped by her friends, a woman offering some sweets to a guest, a group having a casual
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Lebanese Bekaa Valley Peasants
breakfast‌ These perpetual scenes of entente and affinity are eloquent statements about the possibility of a happy social life.
Similarly portrayed is the peasants’ reaction to unexpected harm; they express their anger and pain in a spontaneous innocent way. My drawings show in a precise sincere manner their feeling in such situations in the form of a loud cry symbolizing a big protest. Those peasants experience the moments of disequilibrium with a totally unwelcoming statement and with no place for compromise. After reviewing other statements, theirs seems to be the most efficient and the most convincing.
I draw every scene several times hoping to find the best possible expression by slightly changing the angle of view or the gesture of the individuals to make these extremely beautiful scenes look their best. This is one way to explain what I mean by saying below that drawing can also be an independent art with special finality.
These statements given by peasants about the possibility of a happy social life based on genuine freedom and natural collaboration belies what is happening inside certain cruel systems nowadays based on inequality, oppression and demagogy, as if this is the only option humanity has. And it is important to find out why we relinquished the grace of that beautiful social life we once acquired, and what we can do to regain that precious achievement. ASCENT OF DRAWING FROM SKETCH TO INDEPENDENT ART These drawings were first meant to be a normal preparatory work for my paintings like every artist does as he explores new ideas or when he wants 7
Lebanese Bekaa Valley Peasants
to remember places or faces or gestures etc. Drawing in this fashion was and still is of a big importance for artists in general. But at a certain stage in my career I found myself concentrating unconsciously on drawing as a separate activity and as an independent art with different esthetic and
A crowd of visitors at an art exhibition by Al-Kach about "Bekaa Valley Peasants" hosted by the Cultural Centre of Germany attached to the German Embassy in Beirut in 1974
different
artistic
motivation and in parallel with my colored work that has its own characteristics and flavor. That was not a kind of dualism, nor a sign of uncertainty about the right path to follow, since I consistently
produced
paintings with different motivation and different feeling.
In reality this kind of drawing was a new window to look across at things. It was an art satisfied by itself and taking the full responsibility to please 8
Lebanese Bekaa Valley Peasants
and send a clear artistic message. I found this approach very useful for artists for many reasons. It gives the artist another means to express his feelings, and in some situations it may prove to be the right tool for it.
For Chinese and other far Eastern artists, drawing as a special means of art was always an artistic tool to express historic events or details about intimate daily life or to show the beauty of nature with all its variety, as they excelled in drawing animals real and mythological, and they often reached a high level of expertise in that art.
In contrast, European artists who reached in the art of painting the highest degree of mastery, always unknowingly denied to drawing, to be another artistic option that can be used independently in order to fully satisfy an artistic ambition, or they unintentionally overlooked it and missed the opportunity to excel in it. They generally used drawing for preliminary work needed to help secure that mastery in painting. In fact they used it to prepare for large paintings through sketches and studies to avoid any regrettable mistakes, and many times to capture the general idea of a large composition or as an “aide memoireâ€? etc‌. Through these functions of art of drawing, artists have left us many exquisite sketches like the ones by Leonardo De Vinci, Michelangelo, Raphael, Rubens, Durer, and especially Rembrandt in his etchings as well as many others such as Delacroix and Renoir. But very little was produced as independent artistic work with a distinguished style that became famous by itself and rose to an equal level as the art of painting.
Thus rises under these circumstances this paradox between East and West that is not easy to understand. It would be helpful to have an
9
Lebanese Bekaa Valley Peasants
intellectual rapprochement between the two sides concerning a very popular activity such as art. It is a necessity to minimize the disparity and create a common ground for working together in this important intellectual subject. LACK OF CLARITY IN PERCEIVING THE CONCEPT DRAWING Maybe the reason behind the Western artists’ uncertain attitude towards the concept “drawing” is that they never developed a clear and firm perception “Land and Men”
of
Indeed
name of a book by art
it. after
critic Hani Abi-Saleh
following Perugino’s
about a collection of
way
by
and
affirming
paintings from Bekaa valley by Al-Kach
linier
published in 1974
respecting the
discipline
established by some predecessors, Raphael
surpassed
this limitation and started interfering in tones inside the painted area. Later Ingres accused Delacroix of messing with drawing because he doesn’t respect the lines in his paintings, the principle we just mentioned. But if we look carefully, lines must be virtual rather than real, the same way Vermeer perceived it, for this reason this traditional argument in its physical pictorial meaning about lines seams to be incorrect and ill founded.
This disagreement became clearer when impressionists abandoned totally visual lines claiming that in nature we don’t see lines. Still Renoir had a more careful outlook than the rest of the group although he was for many 10
Lebanese Bekaa Valley Peasants
the leader of impressionists.
Even Monet, who was subject to many
criticisms because sometimes he went too far in abandoning drawing in his painting, was not consistent in his attitude.
Truthfully this discussion was ill founded by both parties: those who insist on lines and others who ignored them, since drawing is not about the lines as such but about whether the object is well represented with the help of these lines which cannot be a separate concept from the object itself.
This means object and drawing are two expressions of one single reality which is objective figural representation. With this intrinsic tie between the two concepts, drawing becomes a general reality that includes monochrome and polychrome works and both should be called drawing in technical and philosophical terms.
I imagine that if this perception had been the old master perception, the state of art would have been totally different and art would have been protected from excessive disoriented freedom as a result of the uncertainty in understanding the concept drawing.
However the short experience of the Europeans in using drawing, and their quick transition to painting could be the reason behind the missed opportunity to use drawing as an independent medium of art and, before that, the reason behind the uncertainty about the reality of drawing which led art to the state of chaos that it is in today. This is exactly the opposite of what happened to the Chinese who by relying on drawing as an art since the 4th century AD after an early long experience, took their time to excel in this field, and it became difficult for them to cope with the art of
11
Lebanese Bekaa Valley Peasants
painting in the advanced European way even after they were introduced to it in the 18th century during Emperor Ch’ien-lung reign. ART IS THE LAST RESORT IF MORAL LAWS COLLAPSE There is no doubt that love of beauty is a deep elementary tendency in the human being and it is meant to support survival tendency to make it Enthusiastic crowd at the opening of one of the exhibitions by Al-Kach at GAB Centre in Beirut in 1980
significant and relevant. In fact by loving beautiful things that attract us we become more attached to this world and interested to enjoy living. This is a universal principle that is at the base of our existence as human beings.
Consequently, the will to create beautiful things or to fight ugliness also serves our attachment to life. There is no doubt that the battle for beauty is a battle for survival.
Thus, when we see that many achievements accomplished over the centuries by great leaders and generations of militants for the benefit of humanity to safeguard our kind, have been degraded and abused, we 12
Lebanese Bekaa Valley Peasants
realize that there is a lot of work required from good artists in order to give back some luster to noble ideas with “beauty� as guideline.
A
final
artists small
message
for
belonging
to
countries
that
their role is a unique one, given the critical time
their
nations
might be experiencing. We
all
realize
unfortunately, that the endurance countries
of
all
nowadays
The artist prepares for his 1991 exhibition at the Municipal Library in Bath, U.K.
relies solely on their personal power after the decline of international institutions originally created to insure worldwide security with the help of international laws. The independence and sovereignty of small countries are especially threatened and, in fact, there is rarely one in this category that is not suffering from this predicament. Of course this problem is universal and tough to solve, but it urgently requires a solution at the highest level even if such solution is currently non existent.
Still, artists in these small countries could make a difference by producing a kind of art that gains the respect of the world to the point that they may form with their art an intellectual umbrella to the country where they belong.
F. Al- Kach
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Lebanese Bekaa Valley Peasants
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Lebanese Bekaa Valley Peasants
Biography Fawzi Al-Kach was born in Zahle, Lebanon in 1933. He grew up as the oldest of 6 siblings in a well respected family of land owners going back several generations. In his early years he was surrounded by a simple farming community steeped in the traditional values of self reliance and hard work. This humbling upbringing left an impression on Fawzi that would influence his art and writings for years to come.
Driven by a strong love for literature, language and the intellectual curiosity and expression that can be derived from them, Fawzi pursued a career as a professor of Arabic language, literature and philosophy at the prestigious International Schools of Choueifat University Preparatory. This career of more than 3 decades was accompanied by a personal pursuit in the areas of art and literature.
Over the years, Fawzi produced a steady flow of art exhibitions and books. In his art whether in oil, water color or ink, he always maintained a strong connection to people and earth. Fawzi extended the impressionistic style into his own form of artistic expression by using a bold and daring approach to color and movement.
As a writer, Fawzi covered a wide spectrum of subjects, including poetry, art critique, political commentary and socio-economic analysis. In all areas, Fawzi dared to challenge conventional thought and pre-established opinion by re-examining all the underlying accepted premises. This is proving particularly useful in the new global environment we live in.
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Lebanese Bekaa Valley Peasants
Chronology of Accomplishments 1968 - Published book "The Problems of Modern Art" 1968 - Recipient of Said Akl Prize for the book "The Problems of Modern Art" 1969 - Art exhibition at Carlton Hotel 1970 - Elected Vice President of the Lebanese Association of Artists 1971 - Wrote "Mice and Men of Society" 1971 - Art exhibition at Hotel Carlton "Paintings & Sketches" 1973 - Art exhibition in Zahle by civic sponsorship 1974 - Art exhibition "Men & Earth" at Goethe Institute – The German Cultural Center in Beirut 1974 - Subject of the book "Men & Earth" by art critic Abi Saleh 1978 - Art exhibition at Gab Center "Equality and Inequality" 1979 - Wrote “The Arabic Alphabet for Spelling the Thought” 1980 - Art exhibition at Gab Center 1980 - Art exhibition at Zahle sponsored by The Youth Center 1982 - Art exhibition at Gab Center 1991 - Art exhibition at the Municipal Library in Bath, England 1994 - Published "Spelling the Thought" 2001 - Published "Money & Inflation" 2006 - Published "Wealth of the People and Beyond" 2009 - Published "Economic Crisis Solution & Global Industrial Revolution"
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Lebanese Bekaa Valley Peasants
Plates
1. Tribute to beloved people 2. Bekaa Peasants in classical style 3. Scenes from daily life in the field 4. Geometrical abstractions with figurative groups 5. Fury and protest 6. Landscapes from Bekaa and other Lebanese areas
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Lebanese Bekaa Valley Peasants
18
Lebanese Bekaa Valley Peasants
Tribute to beloved people
Self portrait
19
Lebanese Bekaa Valley Peasants
A bending woman
20
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Young peasant eating
21
Lebanese Bekaa Valley Peasants
Two women having a meal
22
Lebanese Bekaa Valley Peasants
A woman carrying a jar with a child
23
Lebanese Bekaa Valley Peasants
Peasant leaning on a bag
24
Lebanese Bekaa Valley Peasants
A young boy holding a jar
25
Lebanese Bekaa Valley Peasants
Resting woman
26
Lebanese Bekaa Valley Peasants
A peasant holding her child
27
Lebanese Bekaa Valley Peasants
Woman leaning on a bag
28
Lebanese Bekaa Valley Peasants
Peasant entertaining a guest
29
Lebanese Bekaa Valley Peasants
A young boy running to his mother
30
Lebanese Bekaa Valley Peasants
A boy picking food from a tray
31
Lebanese Bekaa Valley Peasants
Women carrying a tray of food
32
Lebanese Bekaa Valley Peasants
Peasant in the field carrying a parcel, a horse in the background
33
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Mother and child
34
Lebanese Bekaa Valley Peasants
Woman holding a plate
35
Lebanese Bekaa Valley Peasants
Conversation under a tree
36
Lebanese Bekaa Valley Peasants
Conversation, a woman leaning on a tree
37
Lebanese Bekaa Valley Peasants
Peasant dredging the earth with a fork
38
Lebanese Bekaa Valley Peasants
Two riders on a horse
39
Lebanese Bekaa Valley Peasants
Women praying to God
40
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Peasant at work
41
Lebanese Bekaa Valley Peasants
Walking peasant and a rider heading to the village
42
Lebanese Bekaa Valley Peasants
Conversation, a woman with a plate
43
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A man with a shovel, a woman holding a plate
44
Lebanese Bekaa Valley Peasants
Young man drinking water, a woman filling a bag
45
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A woman leaning on a bag, another picking fruit
46
Lebanese Bekaa Valley Peasants
A peasant holding a tray of fruit
47
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Feet of walking woman
48
Lebanese Bekaa Valley Peasants
A boy leaning on his hand
49
Lebanese Bekaa Valley Peasants
A peasant carrying a jar
50
Lebanese Bekaa Valley Peasants
Two women filling a bag
51
Lebanese Bekaa Valley Peasants
A man leaning on his hand, a woman filling her jar from the fountain and other
52
Lebanese Bekaa Valley Peasants
A woman carrying a parcel and a house on the horizon
53
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A woman walking beside her donkey
54
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Resting woman in the shade of a tree and a cavalier
55
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A walking peasant, a cavalier
56
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A house wife and a guest
57
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A woman carrying some vegetable in a tied sack on her waist
58
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Peasant with donkey
59
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Peasant filling a bag
60
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A woman with a parcel on her head and a child
61
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Woman opening a bag
62
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Peasant carrying a jar walking behind her donkey
63
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Prayer of a young woman
64
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A woman carrying a plate
65
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Woman offering some food to a guest
66
Lebanese Bekaa Valley Peasants
Woman filling a bag of vegetable
67
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Mother suckling a baby
68
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Peasant with a plate
69
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Farmer carrying a sack followed by a woman
70
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Peasant and her donkey carrying a bag
71
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A farmer strewing seeds
72
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Mother walking with child
73
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Worker napping on sack
74
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Mother nursing child
75
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Workers resting
76
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Mother and child
77
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78
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Bekaa Peasants in Classical Style
Mother and Child
79
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A worker on his way to the field
80
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A peasant leaning on a sack
A worker steering his animal
81
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Woman carrying a jar on her head
82
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Figure representing Lebanese people asking for an end to the conflict. (This subject was repeated four times with slight differences)
83
Lebanese Bekaa Valley Peasants
A house wife grinding grain with a hand mill
A woman reading
84
Lebanese Bekaa Valley Peasants
Figure representing Lebanese people asking for an end to the conflict. (This subject was repeated four times with slight differences)
85
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A worker filling a bag
86
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A young woman offering water to a young man
Packer and his mule
87
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A boy carrying a food parcel
Young peasant carrying a bag
88
Lebanese Bekaa Valley Peasants
Two peasants having a casual meal, familiar scene
Workers doing various activities
89
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A woman carrying a jar on her head
90
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Peasant carrying a parcel of food and a stick
91
Lebanese Bekaa Valley Peasants
Figure representing Lebanese people asking for an end to the conflict. (This subject was repeated four times with slight differences)
92
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A woman carrying a large vessel and a basket
A child resting in his mother’s arms
93
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Composition of a group of horses
Scene of horses
94
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A woman carrying a jar and a parcel of food
95
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Seated peasant
96
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A sad woman
A horse drinking from a rivulet
97
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Studies of horses
A woman pulling her donkey
98
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Young woman offering coffee
99
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Stumbling horse
Old woman kneading dough
100
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A packer and a mule Woman and child on a horse
A tumbling horse and horseman
101
Lebanese Bekaa Valley Peasants
Studies of landscapes and seated women
Different scenes of mother and child
102
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Two young men wrestling in the traditional friendly way
103
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Three couples performing folk dancing
Tired woman leaning on a bag
104
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Ashwick Hall, a school in England belonging to SABIS where the artist stayed for 18 years from 1983 to 2001
105
Lebanese Bekaa Valley Peasants
Broken jar and other studies of mother and child
The animal as vehicle of transportation, different scenes
106
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English young woman having a hot drink
107
Lebanese Bekaa Valley Peasants
A study of a woman filling a bag and a man on his horse
Different scenes from daily life in the field
108
Lebanese Bekaa Valley Peasants
Figure representing Lebanese people asking for an end to the conflict. (This subject was repeated four times with slight differences)
109
Lebanese Bekaa Valley Peasants
Young woman entertaining a guest
110
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Return from the field
Different scenes of traveling
111
Lebanese Bekaa Valley Peasants
A man clapping to stir up a dancer
112
Lebanese Bekaa Valley Peasants
The stick to lean on, to hit, to cook, to warm‌
A tiller behind oxen
113
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A woman in a traditional dress
114
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Falling water and two feet
115
Lebanese Bekaa Valley Peasants
Two women filling a large bag
116
Lebanese Bekaa Valley Peasants
Old man leaning on his stick
117
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Study of two women doing some routine work and a fallen sack of potato on the ground
118
Lebanese Bekaa Valley Peasants
A dancer and a man beating a drum
Three dancers and a man playing the flute
119
Lebanese Bekaa Valley Peasants
Enthusiastic dancing couple
120
Lebanese Bekaa Valley Peasants
A man lifting a heavy parcel and a donkey
121
Lebanese Bekaa Valley Peasants
A woman dancing to flute music
122
Lebanese Bekaa Valley Peasants
Scenes from daily life in the field
Three horses in a field
123
Lebanese Bekaa Valley Peasants
A traveler passing by a woman working in the field Two women eating, others working Bag and jar, a cavalier riding his horse
124
Lebanese Bekaa Valley Peasants
A quick chat between two peasants going in opposite directions A man talking to a woman another working on the other side of the road
125
Lebanese Bekaa Valley Peasants
A worker dredging the earth with a fork, a woman manipulating a sack A worker a woman some birds over a tree A farmer strewing seeds
126
Lebanese Bekaa Valley Peasants
A tiller slitting the earth and a woman planting A woman pouring out the water to another woman Peasant carrying a jar across the field, a horse in the other side of the road
127
Lebanese Bekaa Valley Peasants
Two women filling a bag
128
Lebanese Bekaa Valley Peasants
A packer behind a mule carrying a travelling bag A man and a woman carrying sacks
129
Lebanese Bekaa Valley Peasants
A worker behind his oxen and a peasant A worker tilling the earth followed by a peasant throwing seeds
130
Lebanese Bekaa Valley Peasants
Two peasants in their way to the work Cavalier on his horse accompanying a peasant A woman offering water to another laying in the shade of a tree
131
Lebanese Bekaa Valley Peasants
Peasants in their way to work Two sacks in a landscape
132
Lebanese Bekaa Valley Peasants
Workers picking the grapes A packer laying a bag on the back of his donkey Conversation about the weather
133
Lebanese Bekaa Valley Peasants
A woman eating, a house in perspective A woman eating Peasant picking straw
134
Lebanese Bekaa Valley Peasants
Two peasants eating, another in the field A peasant carrying a sac, a woman in the middle of the field Sacks and a jar in the front of a landscape
135
Lebanese Bekaa Valley Peasants
One peasant holding a shovel another riding a horse A woman carrying a parcel and a traveler on his horse Two peasants one holding a bag another rushing toward two grazing animals
136
Lebanese Bekaa Valley Peasants
A worker and a peasant throwing the cedes A scene of working peasants with a house on the horizon
137
Lebanese Bekaa Valley Peasants
A farmer and a woman behind him Woman and child, a traveler on his horse
138
Lebanese Bekaa Valley Peasants
Group of workers picking corn One woman picking an ear of corn
139
Lebanese Bekaa Valley Peasants
Peasants picking vegetables A woman filling her jar from a fountain
140
Lebanese Bekaa Valley Peasants
Workers in the field and a carriage A group of workers and a carriage in the depth Two workers dredging the earth and a carriage
141
Lebanese Bekaa Valley Peasants
A scene including a number of peasants doing different works A woman leaning on a bag another on her donkey a third one inside the plantation Two workers, a carriage and a village in the horizon
142
Lebanese Bekaa Valley Peasants
Four scenes of people performing familiar activities
143
Lebanese Bekaa Valley Peasants
Four figures in different situations
144
Lebanese Bekaa Valley Peasants
A sleeping woman another one eating, a man going to work and another dredging the field
145
Lebanese Bekaa Valley Peasants
Two woman filling a bag and others doing different activities
146
Lebanese Bekaa Valley Peasants
A cavalier riding his horse a mother cuddling her baby
147
Lebanese Bekaa Valley Peasants
A peasant destroying parasite herbs, two other chatting a third one holding her baby and a reclining one
148
Lebanese Bekaa Valley Peasants
Theatre and players Plate 1
149
Lebanese Bekaa Valley Peasants
Theatre and players Plate 2
150
Lebanese Bekaa Valley Peasants
Theatre and players Plate 3
151
Lebanese Bekaa Valley Peasants
Theatre and players Plate 4
152
Lebanese Bekaa Valley Peasants
Geometrical abstractions with figurative groups
A woman riddling another filling a vessel
153
Lebanese Bekaa Valley Peasants
Peasant pulling a bag
154
Lebanese Bekaa Valley Peasants
A worker smashing stones
155
Lebanese Bekaa Valley Peasants
Group of peasants heading to the field
156
Lebanese Bekaa Valley Peasants
Peasants filling a bag
157
Lebanese Bekaa Valley Peasants
Two women filling a bag
158
Lebanese Bekaa Valley Peasants
Peasant steering a donkey
159
Lebanese Bekaa Valley Peasants
A woman pulling a bag, a home in the background
160
Lebanese Bekaa Valley Peasants
Two peasants and an animal
161
Lebanese Bekaa Valley Peasants
Group of peasants eating
162
Lebanese Bekaa Valley Peasants
A man and a woman on a donkey
163
Lebanese Bekaa Valley Peasants
A woman holding a bunch of straw
164
Lebanese Bekaa Valley Peasants
Fury and protest
A terrified woman with a burning home
165
Lebanese Bekaa Valley Peasants
Mother and child
166
Lebanese Bekaa Valley Peasants
A woman displaying the body of her young child
167
Lebanese Bekaa Valley Peasants
A man showing his dismay, one person on the floor
168
Lebanese Bekaa Valley Peasants
A person walking in the tempest
169
Lebanese Bekaa Valley Peasants
A terrified woman
170
Lebanese Bekaa Valley Peasants
A young boy covering his face of fear
171
Lebanese Bekaa Valley Peasants
A youngster expressing dismay
172
Lebanese Bekaa Valley Peasants
Help and consolation
173
Lebanese Bekaa Valley Peasants
A man running with injured child
174
Lebanese Bekaa Valley Peasants
Group of cavaliers
175
Lebanese Bekaa Valley Peasants
A mother grieving over her child
176
Lebanese Bekaa Valley Peasants
Group of cavaliers
177
Lebanese Bekaa Valley Peasants
Exhausted woman filling a bag
178
Lebanese Bekaa Valley Peasants
Landscapes from Bekaa and other Lebanese Areas
1
179
Lebanese Bekaa Valley Peasants
2
3
180
Lebanese Bekaa Valley Peasants
4
5
181
Lebanese Bekaa Valley Peasants
6
7
182
Lebanese Bekaa Valley Peasants
8
9
183
Lebanese Bekaa Valley Peasants
10
184
Lebanese Bekaa Valley Peasants
11
12
185
Lebanese Bekaa Valley Peasants
13
186
Lebanese Bekaa Valley Peasants
14
15
187
Lebanese Bekaa Valley Peasants
16
17
188
Lebanese Bekaa Valley Peasants
18
19
189
Lebanese Bekaa Valley Peasants
20
21
190
Lebanese Bekaa Valley Peasants
22
23
191
Lebanese Bekaa Valley Peasants
24
25
192
Lebanese Bekaa Valley Peasants
26
27
193
Lebanese Bekaa Valley Peasants
28
29
194
Lebanese Bekaa Valley Peasants
30
31
195
Lebanese Bekaa Valley Peasants
32
196
Lebanese Bekaa Valley Peasants
33
34
197
Lebanese Bekaa Valley Peasants
35
36
198
Lebanese Bekaa Valley Peasants
37
38
199
Lebanese Bekaa Valley Peasants
39
40
200
Lebanese Bekaa Valley Peasants
41
201
Lebanese Bekaa Valley Peasants
42
202
Lebanese Bekaa Valley Peasants
43
44
203
Lebanese Bekaa Valley Peasants
45
204
Lebanese Bekaa Valley Peasants
46
205
Lebanese Bekaa Valley Peasants
47
206
Lebanese Bekaa Valley Peasants
48
207
Lebanese Bekaa Valley Peasants
49
208
Lebanese Bekaa Valley Peasants
50
209
Lebanese Bekaa Valley Peasants
51
210
Lebanese Bekaa Valley Peasants
52
211
Lebanese Bekaa Valley Peasants
53
212
Lebanese Bekaa Valley Peasants
54
213
Lebanese Bekaa Valley Peasants
55
214
Lebanese Bekaa Valley Peasants
56
215
Lebanese Bekaa Valley Peasants
57
216
.
Al-Kach Drawings
Bekaa Valley Peasants