Moustafa farroukh biography of william
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Farroukh returned to Beirut in 1932, where he began teaching. During these years, he made a name for himself as an emerging artist, participating in major exhibitions. But never was this phrase used more accurately than in the case of master artist Mustafa Farroukh’s‘ Tabkhit al-Bass’ (Cooking of Stones). Upon his return to Beirut in 1932, Farroukh established a permanent exhibition of his work in his studio, becoming a fixture in the Beiruti art scene.
Born in 1901, Moustafa Farroukh was brought up in a humble Beiruti household in Hai Al-Basta. He joined the group of philosophers, thinkers, and men and women of literature who lectured in the renowned "Al Nadwa" gatherings or "Le Cénacle Libanais".
In 1974, he was portrayed on a Lebanese airmail postage stamp in recognition of his work.
Mustafa Faroukh's Oil Painting - Tabkhit Al-Bahss – 1955 ‘Tabkhit Al-Bahss’ (The Cooking of Stones), is 80cms wide and 64cms high without frame
There’s a saying that every picture tells a story.
This oil painting by the Lebanese-born contemporary artist has a truly poignant tale behind the picture that we can all see.
Commissioned in 1955 by the Islamic Art Society just two years before Farroukh’s death, the painting depicts a well-documented legend believed to be a true happening which took place during the early days of Islam just after the prophet Mohammed’s death, during the reign of Omar Bin Al Khatab, the second Khalifa of Islam.
Surely a sign that his country, as well as critics worldwide, recognized the huge talent that he possessed.
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He also wrote five books, which included putting his lectures into print.Moustafa Farroukh
Moustafa Farroukh (1901 – 1957) was one of Lebanon's most prominent painters of the 20th century.
This stemmed from his strong desire to pass on his deep understanding of the basic rules of painting that he had learned and perfected during his own studies. In 1950, as a tribute to his work, Farroukh's name was chosen for listing in Benezit, the world's renowned collection for bibliographical art reference.
Farroukh also wrote five books and taught art at the American University of Beirut and lectured in various academies.
He proceeded to Paris and continued further studies under the guidance of Paul Émile Chabas, the president of the Society of French Artists and many other French artists.
Over his prosperous career, he exhibited in venues from Paris, Venice, New York City and Beirut. The Khalifa is pictured kneeling and blowing on the fire while the mother and her children, huddled together, look on.The atmosphere in this wonderful painting is evoked through the use of bold, dark oils which manage to conjure up the night-time scene and also the bleak experience that the family were going through.
The artist was born in Beirut in 1901, studied at the Royal College of Fine Arts in Rome, graduating in 1927.
He then moved to Paris where he studied under a number of well-known French painters. He continued to work prolifically himself, producing breath-taking landscapes, portraits and still-life, which were clearly and authentically deeply rooted in their natural surroundings.
In 1955, Farroukh received the first prize of the President of the Republic, the Lebanese order of Merit, and the Order of the Cedar (Knight and Officer).
Watching this heart-breaking scene in disguise is the Khalifa and his Grand Wazir (Prime Minister) who, having brought real food themselves, are now cooking for the family. He travelled through Spain in the early 1930s where his appreciation of Arabic art and architecture had a long-lasting effect on his artistic touch.
He produced several paintings representing the Arab legacy in Spain.
Farroukh became highly regarded as a Lebanese national painter at a time when Lebanon was asserting its political independence. During his time in Europe, Farroukh displayed his works in the Parisian Salons and traveled to Spain to explore his interest in Andalusian architecture.
His art captured the spirit and character of the Lebanese people and he became recognized as the outstanding Lebanese painter of his generation. Most of his paintings were portraits, landmarks, or scenery from his homeland Lebanon. In his Studio in Beirut, he established a permanent exhibition of his artwork in 1932.
His work was applauded for its representation of real life in Lebanon in pictures of the country, its people and its customs.
He received encouragement and technical instruction from the Lebanese modernist Habib Serour in the artist's studio before pursuing a formal training at the Regia Accademia di Belle Arti denominati di San Luca.