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Lot Essay
'The most difficult part for people to accept is that painting is not a reflection on an object, but something which has been lived, a making. We are involved on the first day that we traced a line and laid down a colour on a surface, and the painter's questioning revolves around these facts. It is from there, that the vanity of believing in a random intervention in the artist's sphere of theories suggested by the outside world, comes from...I only stop when both colour and light match. I cannot escape from colour, it is my fate and nature - my eyes must have been dazzled forever. The impact between two colours creates light, but whether it be true or false, this "theory" does make me paint.'
(From the artist's notebook; translated from French).
This intricate Composition by Shafic Abboud painted in 1959 is characterised by its unparalleled richness in terms of colour variation, texture and movement on the surface of the canvas. 1959 was a pivotal year for the Lebanese artist who had settled in Paris in 1947, as he was the first Arab artist to be invited to participate to the First Biennale of Paris in the French section that same year in October 1959. He exhibited there Saison II, one of the four large panels from his iconic cycle of the Saisons ('Seasons') that he produced in 1959.
(From the artist's notebook; translated from French).
This intricate Composition by Shafic Abboud painted in 1959 is characterised by its unparalleled richness in terms of colour variation, texture and movement on the surface of the canvas. 1959 was a pivotal year for the Lebanese artist who had settled in Paris in 1947, as he was the first Arab artist to be invited to participate to the First Biennale of Paris in the French section that same year in October 1959. He exhibited there Saison II, one of the four large panels from his iconic cycle of the Saisons ('Seasons') that he produced in 1959.