Choucair’s works are also inspired by her knowledge of movement, kinetics, and duality (LaTeef 19, 20). Her art is inspired by Arabic calligraphy, art, and poetry, and the ability to artistically deconstruct these mediums. Choucair’s development as a sculptor seemed to mirror the development of Beirut, as both of them grew more architectural. Though she worked from home, many were amazed at her ability to remain in tune with the art world and movement in Europe (Jones 110). In 1955 she spent the summer touring art schools in the United States and at her return she began experimenting with many forms of artistic media, including rugs and jewelry, subsequently developing a love for sculpture (Al-Awar 86). The modules, geometric and repetitive yet colorfully unique, combine the modern teachings of Paris with the mathematical background that Choucair brings to her works.Ĭhocuair returned from Beirut in 1951 and married Yusif Choucair, a journalist. Paris was where Choucair discovered her passion for modernism and abstraction, and many of her module paintings come from this time. She often visited the workshops of Hajdu, Etienne, and Marin as well to gain more artistic perspective (Liban 140). In 1950 the Atelier D’Arte Abstrait, a new studio that housed no masters and encouraged collaboration, opened in Paris and the atmosphere drew Choucair to it (Jones 107). Additionally in Paris she studied under one of the most modern artists of the time, Fernand Léger, who had just returned from New York when Choucair arrived in Europe (Jones 107). At the school she studied lithography, fresco work, and sculpture under Saupique as well as taking classes at the Académie de la Grande-Chaumière on abstraction under Dewasne and Pillet. 63)Ĭhocuair visited Paris with her brother-in-law in 1948 and, in awe of the artistic community in the city, decided to not return to Lebanon and remained in Paris as a student of the École des Beaux-Arts (LaTeef 17). By the end of the 1940s, she was considered by many to be the first contemporary abstract artist in the Arab world (Blazwick et al. Along with her studies Choucair was deeply involved in activism, worked as a librarian, and continued to be fascinated by all forms of art (Scheid). As a response to this Chocuair studied both cultures extensively, a journey that also helped her to develop as an artist and inspired some of the use of Islamic lines and curves in her paintings (Al-Awar 85).įrom 1945 to 1947 Choucair studied at the American University of Beirut and taught at the Arab Culture Center in Lebanon. Early in her career she was infuriated when one of her teachers called Islamic art second to styles such as Greek because it was not as advanced in its portrayal of the human body. Choucair’s Workshopĭuring the Second World War Chocuair traveled to both Egypt and Morocco and was inspired by the intricate arches and stonework in the mosques there. At the Beirut College for Women she studied both mathematics and physics, and grew to love art in addition to the world of science. In addition to graduating from the progressive Beirut College for Women in 1938, Choucair began studying under Mustafa Farroukh in 1935 and after that under Omar Onsi in 1942. Her father died as in the Military when she was very young, and she and her two siblings were raised by her intellectual mother (LaTeef 17). The rapid spread of the fire was made worse by the combustible cladding on the outside of the building.Īn inquiry continues into the disaster and Mr Choucair has set up a petition to try and convince the inquiry to look at whether institutional racism contributed to the disaster.Saloua Raouda Chocair was born 1916 in Beirut, Lebanon and was a fearless and energized child who had a passion for art. Mr Choucair lost his mother, Sirria, 60, sister Nadia, 30 and her husband Bassem Choukair, 40, as well as nieces Mierna, 13, Fatima, 11, and Zainab, three, in the 2017 fire which killed 72 people. Mr Choucair added that he would personally like to see a museum to the disaster on the site so that the tragedy is not forgotten. “We would like it to remain up until something is agreed for the Memorial Commission where everyone takes part and what they would like to put up.” On Wednesday, Nabil Choucair told Sky News: “It is a reminder of our loved ones, we don’t want them to disappear just as quick as that. Nabil Choucair, who lost six family members in the Grenfell Tower fire (Rick Findler/PA) (PA Archive)
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