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Lot Essay
Painted in 1973, La Lecture (The Reading) is a remarkable composition showcasing Paul Guiragossian's signature style. The work depicts two women and a child gathering around a central female figure to intently listen to her reading of a book. The painting emanates dynamism through its bold and spontaneous brushwork. Warm yellow tones complemented by green and white strokes grace the composition, distinguishing limbs and cloaks in a pleasantly meticulous and abstract manner. With recurring patterns of broad sweeps of deep blue and green in the background, the delineating effect gives the painting its spatial perspective. The gathering of the women conveys a sense of mutuality and motherhood that arises from the communicative imparting of knowledge, care, and hopefulness.
Drawing on an array of influences from naturalism, modernism, as well as figurative abstraction, Guiragossian developed a distinct approach that is instinctively recognisable of his stylistic practice. Acutely conscious of the physical and psychological impact of exile and displacement, his journey as a refugee contributed to his nuanced understanding of the human body. The subjects in Guiragossian’s compositions, often rendered as stretched-out forms, gathered closely, some hunched or crouched, occupy the space without overflowing its boundaries. This sense of unity often seems precarious, yet it also holds a kind of enchantment, perhaps offering protection against the spectre of loss. As a suggestive way to comprehend Arab intellectual thought, Guiragossian's paintings are characterised by an experimental approach, eschewing rigid forms that lead to the essence of intended expression, alongside an elegant use of modular configurations drawn from the traditions of post-impressionist painters, such as Van Gogh, who Guiragossian idolised and sought inspiration from. His body of work encompasses portrayals of himself, his family members, and individuals he admired. He also created fully abstracted forms, where figures manifest as colour stripes, similar to fresco compositions seen at sites along the Silk Road. His paintings exude spontaneous energy, reflecting his inner compulsion to articulate and release his struggles onto the canvas. Through his artistry, Guiragossian endeavoured to capture the complexities of the human experience, encompassing its formidable challenges and moments of profound beauty. With acute sensitivity, he created compositions that transcended mere aesthetic allure, resonating with a sentiment universally shared by humanity.
Born in 1925 in Jerusalem to a family affected by the Armenian genocide, he experienced exile in both his heritage and fate while his family resettled in Beirut from Palestine in 1947. Guiragossian demonstrated exceptional adaptability, making Lebanon his home, mastering multiple languages, and passionately advocating for both Armenian and Arab causes, all while embracing European customs, ideas, and artistic styles with his multilayered brush strokes. In 1956, Guiragossian won the top prize in a painting competition, earning him a scholarship from the Italian Government to study at the Academia di Belle Arti di Firenze. In 1962, he secured another scholarship from the French Government to paint at Les Atelier Des Maîtres De L’École De Paris. By the mid-1960s, Guiragossian became one of Lebanon's most acclaimed artists. In 1989, he travelled to Paris to exhibit at UNESCO and stayed there until 1991, creating some of his largest artworks. His works are part of the prestigious international public and private collections, including The British Museum, London; Centre Pompidou, Paris; Institut du monde arabe, Paris; Mathaf: Arab Museum of Modern Art, Doha; Barjeel Art Foundation, Sharjah; Salama Bint Hamdan Al Nahyan Foundation, Abu Dhabi, among others.
Drawing on an array of influences from naturalism, modernism, as well as figurative abstraction, Guiragossian developed a distinct approach that is instinctively recognisable of his stylistic practice. Acutely conscious of the physical and psychological impact of exile and displacement, his journey as a refugee contributed to his nuanced understanding of the human body. The subjects in Guiragossian’s compositions, often rendered as stretched-out forms, gathered closely, some hunched or crouched, occupy the space without overflowing its boundaries. This sense of unity often seems precarious, yet it also holds a kind of enchantment, perhaps offering protection against the spectre of loss. As a suggestive way to comprehend Arab intellectual thought, Guiragossian's paintings are characterised by an experimental approach, eschewing rigid forms that lead to the essence of intended expression, alongside an elegant use of modular configurations drawn from the traditions of post-impressionist painters, such as Van Gogh, who Guiragossian idolised and sought inspiration from. His body of work encompasses portrayals of himself, his family members, and individuals he admired. He also created fully abstracted forms, where figures manifest as colour stripes, similar to fresco compositions seen at sites along the Silk Road. His paintings exude spontaneous energy, reflecting his inner compulsion to articulate and release his struggles onto the canvas. Through his artistry, Guiragossian endeavoured to capture the complexities of the human experience, encompassing its formidable challenges and moments of profound beauty. With acute sensitivity, he created compositions that transcended mere aesthetic allure, resonating with a sentiment universally shared by humanity.
Born in 1925 in Jerusalem to a family affected by the Armenian genocide, he experienced exile in both his heritage and fate while his family resettled in Beirut from Palestine in 1947. Guiragossian demonstrated exceptional adaptability, making Lebanon his home, mastering multiple languages, and passionately advocating for both Armenian and Arab causes, all while embracing European customs, ideas, and artistic styles with his multilayered brush strokes. In 1956, Guiragossian won the top prize in a painting competition, earning him a scholarship from the Italian Government to study at the Academia di Belle Arti di Firenze. In 1962, he secured another scholarship from the French Government to paint at Les Atelier Des Maîtres De L’École De Paris. By the mid-1960s, Guiragossian became one of Lebanon's most acclaimed artists. In 1989, he travelled to Paris to exhibit at UNESCO and stayed there until 1991, creating some of his largest artworks. His works are part of the prestigious international public and private collections, including The British Museum, London; Centre Pompidou, Paris; Institut du monde arabe, Paris; Mathaf: Arab Museum of Modern Art, Doha; Barjeel Art Foundation, Sharjah; Salama Bint Hamdan Al Nahyan Foundation, Abu Dhabi, among others.