- Place des Martyres (paintings)
"Place des Martyres" is the title of a series of over 250
watercolor s anddrawing s executed in New York andBeirut between 1971 and 1974 byNabil Kanso . ["Nabil Kanso: Place des Maryres: Works on Paper", 76th Street Gallery, Catalog, New York, 1973] The subjects of the works in the series are based on the women headquartered in the red-light district ofBeirut city center called el Bourj, and afterWWI [Prior to WWI, el Bourj was called Place des Canons in reference to the Cannons placed by Russian in 1773 and France in 1860, Hanssen, Jens: "Fin de siecle Beirut: The Making of an Ottoman Provincial Capital", p. 255, Oxford University Press, 2005] namedPlace des Martyrs French forMartyr s’ Place [Pre-civil war el Bourj was rectangular shaped area measuring about 300 meters long and 150 meters wide, Baedeker, Karl, "Palestine and Syrian: With the Chief Routes Routes Through Mesopotania and Babylonis", p. 279, Harvard University Press, 2007] in memory of dozens ofArab nationalists who were hanged in 1915-16 during Ottoman rule. [Tueni, Gassan, and Sassine, Fares, ed.: "el Bourj", pp.216-217, Editions Dar An-Nahar, Beirut, 2003]Watercolors
The watercolors in the "Place des Martyres" series consists of approximately 170 works in 3 sizes of 44X56cm, 35X51cm, and 31X41cm. They are characterized by transparent deep colors of red, orange, yellow, blue, and black embodying figurative imagery representing both real and imaginary scenes of the gaudy life in the city center district adjoining Place des Martyrs. Painted in the atmosphere of pre-civil war Beirut, the compositions depict
sexual ized encounters and interactions of figures in various sensual situations and entertainment settings. They make references to works of such artists asDegas , Lautrec,Rouault , Kirchner, Nolde, [Brown, Gordon, "Kanso", Arts Magazine, June, 1972 and February, 1973] Laurencin andPascin whose “Sensual spirit seems to inspire the aquarelles and inhabit Kanso’s figures, which in a semi-erotic round, covet, touch, caress, move, and seem to emerge from a pagan fresco where time is consecrated to dance, perfume, and moments propitious to dialogue, exchange, comparison, and fleeting occasions.” [Saint-Evremond, "Kanso", 76th Street gallery, France-Amerique, January 13, 1972] Others point out that the depicted figures “assume the poses of interpretive dance without being self-conscious. [Brown, Gordon, "Kanso at 76th Street gallery", Arts Magazine, February, 1972] Some of the images contain poetic and bowdlerized words reflecting ironic andhumor ous tones with allusion to Beirut sexual market place and its social life and culture. They show scenes of figures in the street, at the café, bar, salon, or intimate setting, and engaged in conversation, flirtation, relaxation, or transaction for the pleasure of thesenses . The figures reflect a blend of “expressive faces, beseeching, flirtatious, charming, sleepy, talkative, reluctant, and pensive.” [Gordon, Brown: "Kanso", Arts Magazine, February, 1973]Drawings
The 80 drawings in the series seem to exist along side the watercolors with shared expressions, subjects and thematic qualities. They fall in sizes of 45X40cm, 45X30cm, 35X27cm, and divide themselves in two parts in which around 50 are done in pen and ink with broad cross-hatched black lines contrasting the light and dark areas, and around 30 sketch line drawings and wash embodying humorous writings. Some of the imagery portray “lovers and nudes using heavy brush and ink technique,” [Scwartz, Barbara: "Kanso at 76th Street", Art News, April, 1972] and rendered in “sympathetic Germanic style.” [Bowles, Jerry: "Kanso", Art News, July, 1972]
References
External links
* [http://beirutbourj.com Place des Martyres paintings]
* [http://nabilkanso.com/martyres.html Aquarelles and drawings]
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