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Lot Essay
Mahmoud Saïd’s brilliance in landscape painting shines through once again in La colline de Mekarzel, a depiction of the mountainous Beqaa region in Lebanon. This painting is part of a distinguished series Saïd created during his visits to Lebanon between 1951 and 1959. Escaping the Egyptian summer heat, he would retreat to Lebanon, where he produced some of his most celebrated non-Egyptian landscapes, including Port of Beyrouth and Après la pluie, au Liban.
What distinguishes this series, are the warm orange tones and deep greens that vividly evoke the Lebanese mountainous landscapes. The hues and the radiant light, drawing from the local pine trees, sun-soaked soil, and terracotta bricks, convey not only the visual essence of the region but also its atmosphere and warmth. Saïd masterfully captures the unique light and spirit of each place he visits, revealing his deep sensitivity to location and mood.
By the 1950s, when La colline de Mekarzel was executed, Saïd had reached full artistic maturity. Drawing on his extensive training in both Europe and Egypt, he had developed a distinctive style rooted in strong composition, expressive colour, and nuanced handling of light. His enduring pursuit was to reveal the "inner light" of his subjects, be they people or places.
This work, in particular, is a striking example of Saïd’s use of aerial perspective. Unlike his other mountain scenes from Lebanon, La colline de Mekarzel is painted from a lower vantage point, creating an intimate sense of presence, almost as if the viewer is seated among the trees, immersed in the mountain’s quiet majesty. This perspective enhances the painting’s atmospheric quality and evokes the serene brilliance of the Lebanese mountains.
Coming from the collection of Hussein Bek Saïd, the present work has remained in the Saïd family since its creation and is being offered to the public for the first time in its history.
What distinguishes this series, are the warm orange tones and deep greens that vividly evoke the Lebanese mountainous landscapes. The hues and the radiant light, drawing from the local pine trees, sun-soaked soil, and terracotta bricks, convey not only the visual essence of the region but also its atmosphere and warmth. Saïd masterfully captures the unique light and spirit of each place he visits, revealing his deep sensitivity to location and mood.
By the 1950s, when La colline de Mekarzel was executed, Saïd had reached full artistic maturity. Drawing on his extensive training in both Europe and Egypt, he had developed a distinctive style rooted in strong composition, expressive colour, and nuanced handling of light. His enduring pursuit was to reveal the "inner light" of his subjects, be they people or places.
This work, in particular, is a striking example of Saïd’s use of aerial perspective. Unlike his other mountain scenes from Lebanon, La colline de Mekarzel is painted from a lower vantage point, creating an intimate sense of presence, almost as if the viewer is seated among the trees, immersed in the mountain’s quiet majesty. This perspective enhances the painting’s atmospheric quality and evokes the serene brilliance of the Lebanese mountains.
Coming from the collection of Hussein Bek Saïd, the present work has remained in the Saïd family since its creation and is being offered to the public for the first time in its history.