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Khalil Saleeby (1870–1928)

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Khalil Saleeby (1870–1928) Khalil Saleeby (1870–1928) a founder of modern art in Lebanon ﺧﻠﻴﻞ ّاﻟﺼﻠﻴﺒﻲ (١٨٧٠-١٩٢٨) أﺣﺪ ﻣﺆﺳﺴﻲ اﻟﻔﻦ اﻟﺤﺪﻳﺚ ﻓﻲ ﻟﺒﻨﺎن Khalil Saleeby (1870–1928) a founder of modern art in Lebanon ﺧﻠﻴﻞ ّاﻟﺼﻠﻴﺒﻲ (١٨٧٠-١٩٢٨) أﺣﺪ ﻣﺆﺳﺴﻲ اﻟﻔﻦ اﻟﺤﺪﻳﺚ ﻓﻲ ﻟﺒﻨﺎن The Rose and Shaheen Saleeby Collection is a unique and extraordinary bequest to AUB by Dr. Samir Saleeby. It features more than 60 paintings by leading Lebanese Statement from the President of AUB artists including Khalil Saleeby, Omar Onsi, Saliba Douaihy, and Cesar Gemayel. The Rose and Shaheen Saleeby Collection is a treasure that few have seen. With Dr. Saleeby’s vision is for all who have an interest in art and the cultural heritage of the opening of the AUB Art Gallery this unique trove of Lebanese art will be Lebanon to share his enjoyment of the paintings. available for all to view and appreciate. This first exhibition in Beirut celebrates the work of Khalil Saleeby, AUB is humbled and tremendously proud to receive these works. Our heartfelt a relative of the donor. Khalil Saleeby is widely considered to be one of the most gratitude is extended to Dr. Samir Saleeby for choosing the American University of influential Lebanese painters of his time, inspiring the work of many of the artists Beirut as the institution to preserve and display this collection. We feel honored to who followed him in the 20th century. be able to share these beautiful paintings with all of Lebanon and the world. The collection is being exhibited in a new temporary gallery at AUB. It will later form the centerpiece of the Rose and Shaheen Saleeby Museum that will be permanently located in a magnificent heritage building on AUB’s campus. This museum, the first Peter Dorman of its kind in Lebanon, is currently being developed to the highest international President standards and will host permanent and temporary exhibitions of fine art. AUB will preserve and promote this premier collection, making it available to students, researchers, the people of Lebanon and the Arab world, as well as the wider international community. To this extent, four paintings from this collection are currently on loan to l’Institut du Monde Arabe in Paris. ﻛﻠﻤﺔ رﺋﻴﺲ اﻟﺠﺎﻣﻌﺔ ا9ﻣﻴﺮﻛﻴﺔ ﻓﻲ ﺑﻴﺮوت jHf·*¼(*ªg©G*Ò64§kFzG*¢Hj©)f¡nk6*K,zM|DjgJªJªg©T G*ÓJf7K5K4j<§¾T ©1¤¡H2*KT 4ÓR ©If¡gGÓIf¡GT j0§GN ÓQ k6¢HÎF&*j<§qº*¦{JT -KmKÒ+µj©FÒH&¶*W 4§kFzG*L&f-4*zEK©·*}©EKª¤MKzG*fg©8KªI&*|<KhJ*§G*$fgI&*z0&*£fF«{G*ªg©G* X T j©FÒH&¶*jHf·* 9|HvfkkDf+K£§©G*¶(*¦zJfM»~¡FªJªg©O G*ÓJf7K5K4j<§¾£(*T £f¡g+£f8f¹*µfnG*p*ÌG*K¢G*¤©¡M¢M{G*Fmf0§G*¦{¤+¥k³µ}M£&*ªg©G* T R T ©qG,}©kHzM|G*Çf¡gG*ª¡G*|1{G**{J|Mz-K,zJfHjkHugk6mKÒ+µT ÓIf¡G*¢H6*KfI¨<ÊkP M«{G*ªg©R G*©1< T |MmKÒ+µK&¶* 9|º**{JKX uIfº*¼(*M~·*|Gf+¥/§kI¢tIK~¡G**{Jªk+hT ©¤k-K§J~-mKÒ+µj©FÒH&¶*jHf·*£(*T µ¦z+*K'Kf/¢M{G*ÓIf¡G*¢HzMzG*GQ f¤H£fF3(*¦}<µN N*Ò.&f-ÎF&¶*Ó©If¡gG*T 4fI£&*f¡GÒgFO }G¥I(*Kj<§qº*¦{J 9|<K¸jHf·*¦4f©k1¶ªg©O G*Ò64§kFzG*T ¢M}G*£|G* j©·*tkG*¦{¤+»fG*K£f¡gGF fN 0¶N k6KmKÒ+µj©FÒH&¶*jHf·*µjkX E'§H,zMz/T 9|<j<fEµj<§qº*P R zV -KR jHf·* |0µ)*4P ª.*|-¨¡gHµfN )*2N N*|Hkt©6«{G*ªg©T G*ÓJf7K5K4tkH,*§IT [ Y £fH4K2Ì©+ £f¡gGµ¥<§I¢HK&¶*£§©6Kj©GKzG*ÒMfº*D4&*ht+tkº**{J|M§-fN ©Gf0«|qMKY ©)|G* jkE'§º*Kj)*zG*j©¡G* 94fº*©k©6KT j©/|º* ªg©G*T ÓJf7K 5K4 j<§¾ 0 ¨< - mKÒ+ µ j©FÒH&¶*T jHf·* £(* ½KzG*kqº*¢<ÏDª+|G*»fG*K£f¡gGµÓn0fgG*KiÏGN j0fkHf¤/KfJ5*|+(*KN o©0 M4f+µª+|G*»fG*z¤H¼(*j<§qº*¦{J¢Hmf0§G+4&*,4f<(*lP ³zEK6K&¶*T }9f¸*lE§G*µ 9|-R 2 3 ﻛﻠﻤﺔ ﱢاﻟﻘﻴﻢ Curatorial Statement Over the summer and fall of 1928, newspapers in Beirut relayed the details of a ©14§º*kX EzG/fDR pP z0Q ©8f-mKÒ+t8lGK*z-¥M|1KQ 1928 fG*©8Ï1 dramatic story: the painter Khalil Saleeby and his foreign wife Carrie Aude had been j©wM4fkG*)f.§G*k-¦f©º*§0§0*~I$*|/¢H2K&*«4fFj©g¡/&¶*¥k/K5Kªg©G* killed following a dispute over water rights. Related historical documents reveal T V P T T T fragments of the public and judiciary debates of the time, offering glimpses not only *}8¢<P ¶mftºP ,N |Q D§HlE§G*G3µX ª)fT G*K fG* 7f¡G*¢HT mfP gQ E¢<jQ ©T Gf+jkº*T of a long-forgotten and tragic conflict, but also of the social perception of the new £|E{¡HP ,zMz/lIfFªkG*j¡¤º*¼(N *j©<fk/T ¶*,|¡G*¢<G{F+h0K¥If©If:«§[ 6&fH profession of picture-maker almost a century ago. mf0§G*If8j¡¤HfgM|-N In the news reports about Khalil Saleeby and Carrie Aude’s murder, one finds not only jM§T 6&fº*jMf¤¡G*¨<D$|º*M¶2K&*«4fFKªg©G*©1kH¢<jT M4fg1(¶*|M4fkG*µT the tragic conclusions of two personal stories but also the articulation of broader social Ó+ j¤/*§º* 7&* j©wM4f-K jP ©<fk/* mfP Ef¡- S ³ ¨< G{F + Ók©w7ÓkS G and historical contradictions: the confrontation of late Ottoman and French colonial T T R T V sensibilities, metropolitan and peripheral lifestyles, urban and peasant economies. 9f+4&¶*K}9*§¸*,f©0ªÅÓ+fJz¤<|1*K&Q *µj©IfnG*KjT ©T I|G*jM4fkT 6¶*Ók©T 6f¸* Clashes of such epic proportions are often resolved through individual sacrifice. ¦{Jn­mf<*}8¢<2|Gf+j©tP kG*Ï1¢H R V ¡Q MfHfR gGf=N ªM|G*KT ÇT zº*¢M2fkEQ ¶*Ó+ j©tº*2f+&¶*T From an art historical perspective, the life and work of Khalil Saleeby sketches in outline a crucial phase in the late 19th and early 20th century development of art in ¢Hj6f0j0|ºjP M|G*§¹*¥Gf<&*Kªg©G*©1,f©0T 6|-¢G*xM4f-|Ij¤/T K¢HR Lebanon. Saleeby belongs to that first generation of painters who most substantially *3¼(*ªg©G*ªk¡M¢M}G*£|G*)*K&*K}<6fkG*£|G*|1*K&*£f¡gGµ¢G*4T §-0*|H contributed to the emergence of art as a new occupation in this country. Often called Q T musawwirun (picture-makers and picturers) or simply rassamun (draftsmen who $f¡+&*zgG**{JµzMz/P *Ì0fFP ¢G*K~+µT fP DT §tI¨<*§JfP 6¢M{G*ÓIf¡G*¢HT K&¶*©<|G*T worked with cameras or brushes), members of this generation pioneered a modern j¡º*lIfFf©DjnMz0P j¡¤ºM|G**KzP ¤HÓHfT T6|G*K&*¢M4§ºf+*§kX S IfHfR gGf=¢M{G*©·**{JN profession at a time when the region was undergoing deep historical transformations jM2fkET ¶*Kj©T 6f©G*Kj©<fk/T ¶*,f©¸*¢M2f©H¢H£*z©HFµj©<N jN ©wM4f-T mP ¶§±z¤T - in every field of social, political and economic life. The exhibition puts on display the jM4{·*mT ¶§tkG*¦{J4f.%T * 9|º*5S ÊS MKR traces of these radical transformations. ¥R kU MR ¶4§º**{J<µhnF¢<|¡M¢Hªg©G*j<§¾µ,z)f6mfJfP ¯*j.Ï.¨<~T F|IX We place emphasis on three tendencies that prevail in the Saleeby collection. A close X U T observer of this painter’s work, first of all, will not fail to notice the tender relationship mf¤M|-4§gG*¢H2z<µ¨P qk-ªkG*K2K&T *¼(*ªg©G*T zT -ªkG*£f¡¸*j80ÏM£&*$P zU +e2f+Q between Saleeby and Aude that is revealed in a number of portraits and figures. £fFQ ¢P H5µªg©G*¥Q 64fH«{G*KzqGÒnº*«|G*§Q 9§H 9|º*+fkMf©If.mf©wN kG*K Secondly, the exhibition follows the controversial theme of the nudes that Saleeby F¢HÎF&T *nº*§¡G*V –mf¤M|-4§gG*¢Hj6j.*T Ò1&N *j©DfnG*¦2§©+,T 2fº*¦{J¨<T R ©X Q MR produced at a time when this material was subject to cultural restrictions. Finally, a ¨<¥M|-4§gG*¢Djg=}X IÓE§H|º*KÓM2fG*£fT ¡G*«}8fH4T §-X –j<§qº*µ¦*z<fHR series of portraits – the most represented genre in the collection – depicts ordinary lG§0zE,zMz/T jN ©<fk/*}8f¡<T £&T *¼(*z-T ,4fP 7(*oMz¸*}G*¼(*,~©ÁT ,4fP 7(fFL|1&¶**§I&¶* and eminent contemporaries of the artist. We interpret the predominance of the art º*KmfgG*©/¢H2*|D&¶*Ó¡:*§º*§tIfJ4fI&* of portraiture over other genres as a distinct signal of the modern age, an indication S Q that new social agents had turned their gazes towards individual citizens of all classes and denominations. mKÒ+µj©FÒH&¶*jHf·*¼(T *ªg©G*ÒT 64§kFzG*¢Hj©wT G*jg¤G*+ R9|º**{JS R ¡MV l+fqk6*ªkG*jT6'§º*¼(*f¤+z¤<j<§qº*¦{¤+ªg©G*4§kFzG*f¤GÏ1¨¡k<*T ,zMz<P m*§¡P 6z+ This exhibition has been made possible through the generous donation of Dr. f¤-f:fIKfJ2§¤/¢9f¤/*42(*¢<ÏN D4§¤·*¨<f¤9|<Kf¤kIf©8Kf¤t+ *~kGÏG Samir Saleeby to the American University of Beirut. After many years during which 4Kz+ f©G*f¤H*~kG*¢<ªg©P G*©1<T 9|<Ê<mKÒ+µj©FÒH&¶*jHf·*¢-jT M§+ÌG*T Dr. Saleeby cared for this collection, he has entrusted it to an institution that has j¡º*¦{¤G,}8fº*Kj©·*£§¡G*©qS -µP SI responded with the pledge to conserve, preserve and display it to the public, as well as to incorporate it within its pedagogical efforts and activities.
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