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Lot Essay
Seeking a balance between an expressionist style that references reality and chromatic elements that express emotional movement and a new reality, the present work entitled Masques et bergamasques is clearly structured and composed with impulsive and dynamic brushstrokes that create a delightful musical rhythm offering an underlying sense of optimism.
As one of the most distinguished Lebanese Modern artists, also known as the Father of Modern art in Lebanon, Paul Guiragossian captivates collectors and art appreciators alike with his bold layers and strong use of texture and colour. Painted circa 1990, the present work is an impressive example from Guiragossian's later series of works whereby the artist had achieved a sense of maturity in style, incorporating abstract elongated lines in his compositions.
Although his earlier works were more figurative in style, from the late 1970s onwards Guiragossian would gradually liberate himself from the confines of the discernible human figure. His paintings became highly abstracted, yet they always subtly alluded to the human form, albeit in a very minimal and expressionist style. Towards the mid-1980s and early 1990s, his palette expanded to incorporate vivacious colours intrinsic to a Mediterranean landscape of sea, lush verdant mountains and sun that are illustrated in Masques et bergamasques through the use alternating shades of blue and green. The artist often used multiple layers of paint and large, expressive brushstrokes, to create an opaque texture on the surface to offer an intricate sense of depth throughout. Through this vibrant palette of colours emanates a sense of happiness that is associated with a jovial event that would require a carnival or some celebration as the title suggests, symbolising a sign of hope and rebellion against the underlying human misery that was particularly poignant at the time of the Civil War in Lebanon (1975-1990). This ambient and underlying sadness is reflected in the dark tones that dominate the painting and thus are a recurrent symbol of sorrow that permeate the artist’s oeuvre. A bergamask refers to a rustic dance and the title references the opening lines of a Paul Verlaine poem, whilst twentieth-century French composer Gabriel Fauré composed Masques et bergamasques, Op.112 as a musical tribute to the eighteenth century royal balls during which legendary amorous encounters used to occur. With this in mind it becomes clear that Guiragossian’s intent is to make light of the social gatherings prevalent in Middle Eastern culture; his aim to highlight a sense of intimacy in the artwork that is reflective of community celebrations and traditional festivities as a sense of warmth radiates from the canvas.
On closer inspection, the viewer realises that these abstract vertical patches of colour that appear to be close, never overlap and thus simultaneously convey a sense of solitude and suffering. Masks are known to be an attire of disguise, a way for people to escape their identity and hide from their surroundings. Guiragossian thus uses his own canvas as a mask for his own tragic history; the thick impasto and dark colour palette denotes a heavy pain and depression that plagued the artist in a series of misfortunate events in his life and in Beirut where he was painting during a time of war. Within his work, the artist manages to portray both joy and sadness and the juxtaposition of luminosity and density of colour against a deeper underlying sense of angst produces a visually arresting, multi-layered composition that renders Masques et bergamasques an emotionally and aesthetically charming work of art.
As one of the most distinguished Lebanese Modern artists, also known as the Father of Modern art in Lebanon, Paul Guiragossian captivates collectors and art appreciators alike with his bold layers and strong use of texture and colour. Painted circa 1990, the present work is an impressive example from Guiragossian's later series of works whereby the artist had achieved a sense of maturity in style, incorporating abstract elongated lines in his compositions.
Although his earlier works were more figurative in style, from the late 1970s onwards Guiragossian would gradually liberate himself from the confines of the discernible human figure. His paintings became highly abstracted, yet they always subtly alluded to the human form, albeit in a very minimal and expressionist style. Towards the mid-1980s and early 1990s, his palette expanded to incorporate vivacious colours intrinsic to a Mediterranean landscape of sea, lush verdant mountains and sun that are illustrated in Masques et bergamasques through the use alternating shades of blue and green. The artist often used multiple layers of paint and large, expressive brushstrokes, to create an opaque texture on the surface to offer an intricate sense of depth throughout. Through this vibrant palette of colours emanates a sense of happiness that is associated with a jovial event that would require a carnival or some celebration as the title suggests, symbolising a sign of hope and rebellion against the underlying human misery that was particularly poignant at the time of the Civil War in Lebanon (1975-1990). This ambient and underlying sadness is reflected in the dark tones that dominate the painting and thus are a recurrent symbol of sorrow that permeate the artist’s oeuvre. A bergamask refers to a rustic dance and the title references the opening lines of a Paul Verlaine poem, whilst twentieth-century French composer Gabriel Fauré composed Masques et bergamasques, Op.112 as a musical tribute to the eighteenth century royal balls during which legendary amorous encounters used to occur. With this in mind it becomes clear that Guiragossian’s intent is to make light of the social gatherings prevalent in Middle Eastern culture; his aim to highlight a sense of intimacy in the artwork that is reflective of community celebrations and traditional festivities as a sense of warmth radiates from the canvas.
On closer inspection, the viewer realises that these abstract vertical patches of colour that appear to be close, never overlap and thus simultaneously convey a sense of solitude and suffering. Masks are known to be an attire of disguise, a way for people to escape their identity and hide from their surroundings. Guiragossian thus uses his own canvas as a mask for his own tragic history; the thick impasto and dark colour palette denotes a heavy pain and depression that plagued the artist in a series of misfortunate events in his life and in Beirut where he was painting during a time of war. Within his work, the artist manages to portray both joy and sadness and the juxtaposition of luminosity and density of colour against a deeper underlying sense of angst produces a visually arresting, multi-layered composition that renders Masques et bergamasques an emotionally and aesthetically charming work of art.