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Brushstrokes of Change: The Maronites and The Artistic Renaissance

The awakening of art in Lebanon can be traced back to the early 17th century, during the reign of Druze Prince Emir Fakher al-Din I (1572–1635). Dedicated to modernizing Lebanon, the prince employed Western-inspired methods of governance. His deep interest in artistic endeavors sparked a significant cultural renaissance in Mount Lebanon and Beirut (Scham, 2015). In 1613, while in exile in Tuscany, Fakher al-Din was exposed to remarkable masterpieces that would influence his vision for Lebanon upon his return. He invited Italian architects and artists to build a Venetian-style palace in Beirut, distinguished by courtyards adorned with white marble fountains and exquisite gardens featuring marble statues and stone-cut canals amid lemon trees (Olsaretti, 2008). This artistic initiative marked the start of Lebanon’s artistic renaissance.

As Beirut of the 19th century evolved into a vibrant cultural hub, numerous Western artists, drawn by Lebanon’s natural beauty and historical richness, began painting its landscapes and daily life. Noteworthy figures include David Roberts (1796-1864), Edward Lear (1812-1888), William Henry Bartlett (1809-1854), and Pierre Vignal (1855-1925), among others. During this time, Lebanese interactions with the West had intensified, as large oil paintings from Italy and Austria began arriving, fostering local artistic growth. Statues imported from Europe further encouraged local artists to emulate and adapt these works (Naaman, n.d.).

Although sacred murals and frescoes were not new to the Maronites of Lebanon (Panel 3), the establishment of the Maronite College of Rome, the interaction between the Maronites and the Holy See, and the art scene in Italy, as well as the role of Catholic missionaries, introduced sacred art to Maronite society by bringing icons and images as they pastored and educated in various villages and towns. Missionaries trained local clergy in reproducing these images (Hakim, 1948).

However, Nammour (2012) posits that Elias Shidyyaq al-Hasrouni is believed to be the earliest Maronite painter who painted a church in Bikfaya. Dagher (2006) quotes Patriarch Blessed Estephan al-Douaihy in his book Tārīkh al-Azmīnah, indicating that indeed al-Hasrouni painted the church of Mar ‘Abda in that locality in 1587. By the 17th century, the flourishing of monasteries required more sacred art than ever before; hence, these monasteries, along with the church in Lebanon, were instrumental in the demand for such art.

One of the earliest prominent figures in 18th-century Lebanese art was Monk Boutros el-Msawer al-Qobrosi of the Lebanese Maronite Order (OLM), who painted Our Lady of Qannūbīn between the late 17th and early 18th centuries. Al-Qobrosi depicted the coronation of Our Lady at the recommendation of Patriarch Blessed Estephan al-Douaihy. Al-Qobrosi depicted the coronation of Our Lady at the recommendation of Patriarch al-Douaihy. His fresco style reflects a unique synthesis of Western artistic influences with elements from Maronite art, itself rooted in Syriac and Byzantine traditions. This fusion lends the mural a distinctive blend of Western and Eastern aesthetics. Al-Qobrosi's most acclaimed student, Monk Moussa Deeb (Dib, 1730–1826), who later served as superior of the Monastery of Our Lady of the Fields in Dlebta, went on to restore the Qannūbīn frescoes. Deeb’s studio, a modest room adjacent to the monastery and the Mar ‘Abda Harahraya College, became a center for creating works that now grace various churches. His portraits immortalize Maronite patriarchs and bishops, with one of his most renowned paintings depicting the miraculous healing of a Shiite woman’s son during her visit to the monastery in 1777. This painting remains in the Monastery of Our Lady of the Fields in Dlebta to this day. Deeb's nephew, Kanaan Deeb (1801–1882), continued in his uncle’s artistic footsteps, creating works in the residences of ‘Ayn Warqa (1841) and Ghazir (1851) that masterfully blend local and European styles. While initially focused on religious themes, Kanaan later expanded to portraiture, contributing significantly to Lebanon’s artistic heritage. Other notable 18th-century Maronite artists include Youssef Estephan al-Bani, Francis al-Kafaa’i, Ibrahim Kourbage, Estaphan Daou, and Joseph Saqr (El Rassi, 2012).

Fig. 18.1: Deeb, K. Portrait of Khalil Khouri (1859). E. Hannouch Collection, USEK Museum

The history of image-making in the Levant is often framed as the introduction of European techniques in regions where figural representation was traditionally restricted in the Islamic world. However, this narrative does not fully apply to the Christians (Tomb, 2018). Their presence was the fundamental factor in the emergence of this form of visual art, namely painting. As we shall see in the biographies of the first three pioneering Maronite artists discussed herein, these individuals created a historic cultural opportunity in the Levant and beyond, paving the way for many non-Christians to employ this medium to express themselves and reflect on societal and philosophical issues that concern them. This engagement in artistic dialogue transformed what could have been a monologue into a vibrant conversation.

Daoud Corm (1852–1930) is considered the most impactful artist of his era. He demonstrated artistic talent from an early age, studying at the Mar Abda Hararya College in Ghazir and later honing his skills in Rome before returning to Lebanon. Upon his return, Corm became a central figure in Lebanon’s artistic renaissance, particularly in religious art. Sacred art under Corm took on a classical Renaissance style, though he built upon the Maronite theological art tradition of the Dlebta school, combining naiveté with technical mastery (Naaman, n.d.). Corm sought to preserve connections to Eastern heritage, emphasizing humility and reverence. While prolific in religious themes, he also excelled in portraiture and painted Lebanon’s landscapes, ruins, and daily life (Sultan, 2006). His influence extended to founding Dar al-Fan in 1913, Lebanon’s first commercial art supply establishment, which helped cement his legacy and inspired future generations of artists (Sultan, 2006).

Fig. 18.2: Corm, D. Portrait of Khalil Bey Sursock (1882). E. Hannouch Collection, USEK Museum

Another renowned artist, Habib Srour (1863-1938), was a brilliant painter who explored a wide spectrum of subjects, showcasing his versatility. Having studied in Italy, Srour, like his contemporaries, incorporated classical techniques into his style while seeking to balance local subjects with European artistic influences (Tomb, 2018). His meticulous approach to portraiture demonstrated his ability to capture the essence of his subjects with a masterful understanding of light and form (Fine Art, n.d.). While Srour primarily focused on religious themes and commissioned works, he occasionally ventured into still life, studying the movement of objects and their interplay with space (Sultan, 2006). His portraits often depicted everyday individuals—many of them women and Bedouins—as well as landscapes from both Lebanon and Egypt, birds, partridges, and nature, reflecting his deep fascination with local identity, cultural significance, and nature’s beauty (Abou Rizk, n.d.). Notably, his exploration of avant-garde themes in nudity challenged the conservative norms of his time, approaching the human form with both sensitivity and grace (Sultan, 2006). Srour’s nuanced perspective and technical proficiency significantly contributed to the evolution of Lebanese art, leaving a lasting impact on future generations of artists navigating the delicate balance between tradition and modernity.

Fig. 18.3: Srour, H. Portrait of Hanneh Allam from Kfour (1898). E. Hannouch Collection, USEK Museum

Fig. 18.4: Srour, H. Portrait of Unknown Woman (n.d.). E. Hannouch Collection, USEK Museum

Fig. 18.5: Srour, H. The Hunt (1928). E. Hannouch Collection, USEK Museum

Fig. 18.6: Srour, H. The Hunt (n.d.). E. Hannouch Collection, USEK Museum

Philippe Mourani is another notable Maronite painter whose artistic journey began in early childhood, leading him to study in Paris (Al-Qaisi, 2005). In 1901, he settled in Paris, where he actively participated in various Salons des Orientalistes and exhibitions across France and Lebanon. Mourani had a deep appreciation for the cultural and artistic heritage of the Orient, particularly Lebanon, which greatly influenced his art. His contributions extended beyond painting; he illustrated novels for “L’Illustration,” conducted archaeological research, designed Lebanese postage stamps, and created new Arabic printing characters suitable for Western contexts (Chahine, n.d.). Mourani’s artistic style is defined by his mastery of light and color, which he used to evoke the beauty and mystique of Lebanon. His paintings transcend realism, immortalizing enchanting landscapes, ancient cities, and rich cultural rituals with a dreamlike quality and vibrant hues. Notable for enhancing emotional resonance, his use of light creates a hymn to the Lebanese landscape, while his incorporation of historical themes and expressive portraits reflects both an homage to traditional culture and an innovative approach to visual storytelling. Mourani’s most iconic painting captures the announcement of the establishment of the State of Greater Lebanon in 1920 (Al-Qaisi, 2005), a painting etched in the collective memory of Lebanon’s residents and emigrants.

Fig. 18.7: Mourani, P. Woman at Her Window (n.d.). E. Hannouch Collection, USEK Museum

Fig. 18.8: Mourani, P. Portrait of Laure Tabet (1898). E. Hannouch Collection, USEK Museum

Fig. 18.9: Mourani, P. Portrait of Mlle Tabet (1898). E. Hannouch Collection, USEK Museum

Fig. 18.10: Mourani, P. Portrait of Nehme Tabet (1899). E. Hannouch Collection, USEK Museum

Maronites and other Christian painters are credited for the establishment of painting tradition in Lebanon and the region be it sacred or profane. Through their innovative works have left an indelible mark on the cultural tapestry of Lebanon, bridging the gap between tradition and modernity, ushering a new era of self-expression and visual historiography over canvases, and contributing significantly to the region's artistic development.

Fig. 18.11: Mourani, P. Landscape (n.d.). E. Hannouch Collection, USEK Museum

References

Brushstrokes of Change: The Maronites and The Artistic Renaissance
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