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Lot Essay
One of the most highly regarded artists of the Modernist movement in the Arab world, Louay Kayyali is perhaps one of the most palpably socialist artists of the Middle East. Although mostly known for his depiction of characters and personalities of the working and lower classes such as fisherman and street sellers who were often ostracised by the higher echelons of Syrian society, it was in fact his artistic teaching that allowed him to develop a signature style that focused on defined lines and a level of abstraction that can only be deemed his own.
Born in Aleppo, Kayyali was so successful as a student painter in his native country that he was offered a scholarship from the Ministry of Education to study fine arts at the Accademia di Belle Arti in Rome in 1956. It was an incredible experience for Kayyali, having been exposed to many different landscapes and environments as well as a plethora of artistic techniques and creativity; he participated in many art fairs and contests. The present work from 1960 is a fantastic example of the development of the artist's technique during his time in Italy. Depicting a beautiful Italian church, the viewer can see
Kayyali's early adoption of defined lines and use of colour that were to become characteristic of his later paintings, in particular the Maaloula series. It is clear from this composition that Kayyali's fascination for architecture was instigated from an early age and with his exposure to different buildings and architectural structure, Kayyali was excited to capture these all onto canvas. With lines that appear etched into the paint to create a distinct definition between the walls, rooftops and backdrop of the mountain, this work is a delightful and charming illustration of the artist's skill and passion.
Although Kayyali later returned to Damascus to teach, where he created the series of portraits that he has become renowned for, it may be said that he never truly left Italy behind. Suffering from a deep depression as a result of the social and political instability in the Middle East, in 1977 Kayyali once again emigrated to Italy hoping that Rome would reignite the same enthusiasm for painting and life that he had experienced as a student. A year later, finding that Rome was unable to re-invigorate him in the way he expected it to, he returned to Aleppo and died tragically the following year.
Born in Aleppo, Kayyali was so successful as a student painter in his native country that he was offered a scholarship from the Ministry of Education to study fine arts at the Accademia di Belle Arti in Rome in 1956. It was an incredible experience for Kayyali, having been exposed to many different landscapes and environments as well as a plethora of artistic techniques and creativity; he participated in many art fairs and contests. The present work from 1960 is a fantastic example of the development of the artist's technique during his time in Italy. Depicting a beautiful Italian church, the viewer can see
Kayyali's early adoption of defined lines and use of colour that were to become characteristic of his later paintings, in particular the Maaloula series. It is clear from this composition that Kayyali's fascination for architecture was instigated from an early age and with his exposure to different buildings and architectural structure, Kayyali was excited to capture these all onto canvas. With lines that appear etched into the paint to create a distinct definition between the walls, rooftops and backdrop of the mountain, this work is a delightful and charming illustration of the artist's skill and passion.
Although Kayyali later returned to Damascus to teach, where he created the series of portraits that he has become renowned for, it may be said that he never truly left Italy behind. Suffering from a deep depression as a result of the social and political instability in the Middle East, in 1977 Kayyali once again emigrated to Italy hoping that Rome would reignite the same enthusiasm for painting and life that he had experienced as a student. A year later, finding that Rome was unable to re-invigorate him in the way he expected it to, he returned to Aleppo and died tragically the following year.