Marwan Kassab-Bachi, an artist who challenged the landscape of portraiture

Through his loosely figu­rative paintings, Syrian painter Marwan Kassab- Bachi expressed dramatic depth in individuals he painted.

Syrian artist Marwan Kassab-Bachi. (Alserkal Avenue’s twitter page)

2016/11/20 Issue: 82 Page: 22

The Arab Weekly
Jimmy Dabbagh

Beirut - In its traditional sense, a por­trait can be expected to cap­ture the likeness of a person but some artists have sought to portray something more symbolic, breaking beyond conven­tions in search of capturing a cer­tain essence. Transcending mere physical representation, this intan­gible quality can penetrate the sur­face to reveal aspects of the sitter’s inner psyche, which can challenge a viewer’s notions of identity.

Syrian painter Marwan Kassab- Bachi tapped into such elusive territory. Through his loosely figu­rative paintings, he expressed a dramatic depth in the individuals he painted.

Kassab-Bachi, who died Octo­ber 23rd in Berlin at the age of 82, was esteemed as one of the Arab world’s most prolific artists. His works seemed to bridge cultures, embodying both Arab and Western- European stylistic influences.

Kassab-Bachi was born in Da­mascus on January 31st, 1934. Af­ter studying Arabic literature at the University of Damascus, he planned to head to Paris, a creative refuge for young Syrian and Leba­nese artists at the time, but in 1957 his path led him to Berlin.

The unstable sociopolitical situ­ation in early 1960s Berlin was a pivotal time for the creative devel­opment of the then young and im­pressionable artist, who absorbed all that the vibrant city had to offer. He befriended post-war German neo-expressionists, who influ­enced each other, channelling the zeitgeist of the neo-expressionist German approach in their works.

Kassab-Bachi’s early works were characterised by surreal figurative representations of people, with some works including figures from his life and childhood in Syria.

The human face eventually be­came an obsession for Kassab- Bachi and, by the mid-1970s, it dominated his works. Inspired by the poetry and writings from Arab Sufis, Kassab-Bachi layered coats of paint over and over again on canvas, evoking flesh with a sort of piercing three-dimensionality.

Eschewing the conventions of formal figuration, Kassab-Bachi gravitated towards abstraction. Brutal brushstrokes and gloomy colours collide to imbue his works with an introspective at times of uneasy feel. In some of Kassab- Bachi’s portraits, the face is trans­formed into a distorted landscape, enriched with a cacophony of col­our.

Veteran gallerist, art critic and friend of the artist, Saleh Barakat, described their relationship as one of “reverence not equality”.

“For me he was a master… Mar­wan is the guy who never made any concessions. He was always very true to his painting… It’s not only about portraiture; he was [also] influential in how to impose on art­ists the discipline of rigorousness and application and taking painting very seriously, to the utmost ex­treme,” Barakat said.

He described Kassab-Bachi’s un­compromising nature when it came to his art with painstaking atten­tion to detail.

“I saw him at work in his atelier in Berlin. He’s a very demanding artist from himself. Sometimes he could finish a painting in five minutes but sometimes it could take years until he was convinced,” Barakat said. “He was a master technician, very rigorous about the technique. He could have [achieved] more suc­cess had he been willing to make any concession about what he wants to do in his painting.”

Underlining Kassab-Bachi’s strong link to his roots, Barakat added: “He was somebody who was very much part of the Berlin school of German expressionism and he was very grateful for eve­rything he had in Germany but, at the same time, I think Damascus was in the middle of his heart and the middle of his [mind]. He never left Damascus somehow.”

Kassab-Bachi’s paintings have been collected by international museums and institutions, includ­ing the National Gallery in Berlin, the Tate Modern, the Centre Pom­pidou, the Guggenheim Abu Dhabi, the Abd al-Hamid Shoman Founda­tion in Jordan, the Museum of Con­temporary Art in Chicago, the Bar­jeel Art Foundation Collection, the Sharjah Art Collection and many more.

In a tribute to the artist, Andree Sfeir-Semler, a Lebanese-German art historian and founder of Sfeir- Semler Gallery, which had a long-standing association with Kass­ab-Bachi wrote: “A single canvas would carry many faces on top of each other and one painting would often need several years of work before it was considered finished by the artist.”

Indeed, every feature of his sub­jects’ faces appears to be intensely examined. Imbuing his canvases with an unabashed emotional hon­esty, Kassab-Bachi managed to forge memorable impressions of the people he painted.

Jimmy Dabbagh is a journalist based in Beirut and contributes cultural articles to The Arab Weekly.

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