bekaa valley peasants

Drawings

Lebanese Bekaa

Valley Peasants

More than 300 plates

NEW WORLD LEADERS

PUBLISHED IN GREAT BRITAIN

Drawings

Lebanese Bekaa

Valley Peasants

More than 300 plates

Published in Great Britain

Author of:

PROBLEMS OF MODERN ART, 1968

SPELLING THE THOUGHT, first edition 1994, second edition 2003

MONEY AND INFLATION ORIGINAL TREATISE, first edition 2001

WEALTH OF THE PEOPLE, first edition 2006

ECONOMIC CRISIS SOLUTION, first edition 2009

Table of Contents

Acknowledgements..................................................................................... i

Lebanese Bekaa Valley Peasants ............................................................1

BEKAA VALLEY OF LEBANON SOURCE OF INSPIRATION ..................................... 1

BROAD THEME REQUIRED IN FACE OF TRIVIALITY .............................................. 3

ARE THESE DRAWINGS JUST ABOUT RECORDING PEASANT LIFE?................... 5

ASCENT OF DRAWING FROM SKETCH TO INDEPENDENT ART ........................... 7

LACK OF CLARITY IN PERCEIVING THE CONCEPT DRAWING ........................... 10

ART IS THE LAST RESORT IF MORAL LAWS COLLAPSE ....................................... 12

Biography ...................................................................................................15

Chronology of Accomplishments ....................................................................................... 16

Plates ...........................................................................................................17

Tribute to beloved people ......................................................................19

Bekaa Peasants in Classical Style........................................................79

Scenes from daily life in the field .......................................................123

Geometrical abstractions with figurative groups ..............................153

Fury and protest..................................................................................165

Landscapes from Bekaa and other Lebanese Areas ..........................179

First published in Great Britain in 2011

Copyright 2011 by F. KACH

Printed in Great Britain

Email: [email protected]

i

Acknowledgements

This book was made possible with the encouragement of my family and

many friends who, like me, believed that this form of art should be

introduced to a wider public. Many thanks to all of them.

My special gratitude goes to my son Melhem who made this wish come

true by designing and implementing the layout of the book. I am also

thankful to my daughter Reda Khoueiri for editing the book.

Lebanese Bekaa Valley Peasants

1


BEKAA VALLEY OF LEBANON SOURCE OF INSPIRATION

This book is meant to introduce a selection of the many drawings I

produced over the years of the peasants of the Bekaa Valley, especially the

drawings I produced before I was compelled to leave my country Lebanon

in 1983.

Several motives are behind the decision to publish this book. It is

primarily meant to pay tribute to this category of people in general, that

constitutes the foundation of a healthy society, and to satisfy the interest

of those who love this art because it reminds them of their ancestry and

their noble roots, and affirms their relationship with the land they lived,

or still live on. It also aims to encourage new generations of intellectuals,

especially young artists, to scoop up from this rich source of inspiration

important virtues essential for art. At the same time, this book provides

an opportunity to draw some useful conclusions in an attempt to

contribute to the improvement of art of drawing in general, and for some

countries, where this art is still in a developing stage, to try to promote

and protect it.

Bekaa Valley of Lebanon is a fertile arable land about 120 Km in length

and 16 Km in average width, once considered by the Roman Empire to be

a huge reservoir of grain. It constitutes about 20% of the total area of

Lebanon and is very valuable because it is able to provide it with economic

security, particularly in difficult times, and therefore contributes a great

deal to the viability and stability of the country. In addition to its agrarian


2

The artist on the roof of his paternal house in Houch

Al-Omara Zahle in the middle of the Bekaa. Picture

taken after an absence of about three decades

importance, Bekaa is a large source of good men and women who play an

important role in different sectors of the country, and the direct cause of

the genesis of the city of Zahle, capital of Bekaa, as well as the city of

Baalbek and many other towns and villages.

I emphasize the

importance of this

valley to explain why I

dedicated a big part of

my artistic activity to it

and to the people who

live on it. After all, this

is the place where I was

born and spent my

youth and I have a

natural attachment to

it, this is also where my parents and ancestors lived and played an

immaculate role inside the local agrarian community for a long period of

time. I was lucky to be born in that environment because this opportunity

had a marking impact on my intellectual activity and I treasured it all my

life.

Like all peasants of the world, Bekaa Valley peasants are peaceful and

loving as their generous land spares them from any intent for aggression.

Their work, associated with giving, is full of joy and excitement; their

mind reflects the beauty of the universe because they are always absorbed

by what the seasons bring them: the clear or cloudy sky, the rain, the

gentle breeze, the furious storm, the infinity of colored things; they are


3

Sheikh Melhem Al-Kach

father of the artist and

elder grandson of sheikh

Hanna who were both a

source of inspiration for

the artist

busy with the perpetual miraculous growth of their plantations and their

precious harvest. This intimate association with the elements of nature

gives them an incomparable spiritual feature. I remember fondly the

energy and love that men and women alike put into their work, their

optimism, their skill at working together as a group, and I remember their

singing, dancing and love of jokes…This is, without doubt, a healthy

society worth to look carefully into and learn from.

BROAD THEME REQUIRED IN FACE OF TRIVIALITY

The western modern art nowadays breaks many basic rules and conditions

that art normally stipulates. It is obviously facing a serious problem

concerning the theme or the subject, whereas the world is packed with big

events and social

dramatic

transformations that

could serve as

inspiration. This

disparity between an

astonishing reality

and an art that is

superficial and

insignificant in its theme, is the result of commercial motivation, and the

resulting triviality is spreading everywhere due to the expansion of the art

market. Those who exploit art commercially are determined to minimize

and sometimes ridicule the subject on which a painting is based, whilst

the subject is the fundamental justification of any painting and any work

of art, because without an interesting subject there will be no message and

therefore the spectator will be confused and lost. Art dealers are able to


4

disregard esthetic principles and replace them with judgments based

purely on demagogy in order to have a free hand in manipulating the

market.

To sum it up I say: excellence is no longer measured by long established

criteria; instead the judgment is nowadays dependant on the people who

control the market and impose on the buyer their own value system when

it comes to the evaluation of a work of art.

On the other hand there are no more avenues for the artists’ survival

other than the art market. While in the past commissions ordered by

wealthy privates, or governments or big institutions were the principal

source of living for the artists, all those promoters are now polarized by

the same market and are forced to abandon any initiative that could help,

and to obey instead what the market dictates.

I took notice early on of this unpleasant situation and found myself left

with a serious question: if I refuse the ideas in vogue imposed by the

market, what would the alternative be? fortunately because I was already

attracted by the subject of peasant life with all the variety and details so

familiar to me, it did not take me too long to make up my mind and

impatiently started selecting from that abundant source of inspiration the

many situations we find in peasant life. Surprisingly, even my early

works were kindly received by both the public and the media, if not

because of my excellence, more so because of my attitude and my courage

since the public himself was fed up with what was offered to him. Here I

quote Victor Hakim a senior art critic who reflects the opinion of the

media, in his comment about this work, he said: “No other artist before


5

Fawzi Al-Kach had thought to praise the wise agrarian of the Haut

Plateau of the Bekaa, our national granary. The Plateau is represented in

its social and spiritual reality with a style that reflects the vivid reality”

Victor Hakim (La Revue du Liban). (The text in french : “Aucun peintre

avant Fawzi Al-Kach n’avait songe a chanter la sage agraire du Haut

plateau de la Bekaa, notre grenier national. Le plateau est représenté

dans sa réalité sociale et spirituelle en un style reflétant la réalité

vivante”).

Today I feel truly happy and lucky to have produced a good number of

these scenes with genuine content, and I feel humbled by the good

reception of my compatriots to what I have done at that time.

A number of lessons can be learned from this experience, among them,

that it is possible to defy the state of immobility of the subject that

endangered art by rendering it insignificant and inefficient, and to

mobilize the public so that he can give his help in order to create a healthy

normal art originating from the real source of all intellectual activities

which is the vivid real life whatever it might be and not necessarily

agrarian life only.

ARE THESE DRAWINGS JUST ABOUT RECORDING PEASANT LIFE?

My intention from these drawings was to show the attitude of those

peasants in facing the reality with the modest means they possess; if they

accept the challenge or they capitulate or revolt against what is after all

an opportunity to survive in spite of the difficulties this kind of life

imposes on them. I testify that those peasants are driven by courage and

optimism and are attached to their land in spite of the obstacles they have


6

to overcome; in fact they always run short of water to irrigate their

plantation, they always face the problem of marketing their product, they

never feel protected by the government in case of a disaster or any

difficulty, they are systematically short of capital and they borrow at

phenomenal interest rates that make their business an absurd activity.

But still they have lived on this land for a long time and it was

consistently flourishing and productive with their perseverance and

attachment to it.

My mission as an artist was to show this attitude in a convincing direct

way as usually happens in other forms of art such as good theatre or

novels. Therefore every line should be an esthetic support to the idea in

question and should reflect the spirit of the subject it is expressing. Also

the chosen themes and symbols should be indicative and convincing in

conveying the message to the viewer: a proud horseman on his trotting

horse expresses his delight, a mother suckling her baby expresses her joy

at nurturing her newborn, an old man leaning on a sack to rest relays his

gratification for this moment of peace … All those individuals testify to

their contentment in that world where they are sovereign. It is a

confident handshake with nature showing satisfaction in spite of life’s

pressure.

Another theme addressed in many scenes testifies to the acceptance of the

other inside that society in order to form a healthy homogenous group. It

depicts the way those peasants cooperate, the way they help each other,

the way they respond to each other’s attitude and actions…A girl offering

water to a thirsty old man, an exhausted women helped by her friends, a

woman offering some sweets to a guest, a group having a casual


7

breakfast… These perpetual scenes of entente and affinity are eloquent

statements about the possibility of a happy social life.

Similarly portrayed is the peasants’ reaction to unexpected harm; they

express their anger and pain in a spontaneous innocent way. My drawings

show in a precise sincere manner their feeling in such situations in the

form of a loud cry symbolizing a big protest. Those peasants experience the

moments of disequilibrium with a totally unwelcoming statement and

with no place for compromise. After reviewing other statements, theirs

seems to be the most efficient and the most convincing.

I draw every scene several times hoping to find the best possible

expression by slightly changing the angle of view or the gesture of the

individuals to make these extremely beautiful scenes look their best. This

is one way to explain what I mean by saying below that drawing can also

be an independent art with special finality.

These statements given by peasants about the possibility of a happy social

life based on genuine freedom and natural collaboration belies what is

happening inside certain cruel systems nowadays based on inequality,

oppression and demagogy, as if this is the only option humanity has. And

it is important to find out why we relinquished the grace of that beautiful

social life we once acquired, and what we can do to regain that precious

achievement.

ASCENT OF DRAWING FROM SKETCH TO INDEPENDENT ART

These drawings were first meant to be a normal preparatory work for my

paintings like every artist does as he explores new ideas or when he wants


8

A crowd of visitors at an art exhibition by Al-Kach about "Bekaa Valley Peasants"

hosted by the Cultural Centre of Germany attached to the German Embassy in Beirut

in 1974

to remember places or faces or gestures etc. Drawing in this fashion was

and still is of a big importance for artists in general. But at a certain stage

in my career I found myself concentrating unconsciously on drawing as a

separate activity and as an independent art with different esthetic and

different artistic

motivation and in parallel

with my colored work that

has its own characteristics

and flavor. That was not a

kind of dualism, nor a sign

of uncertainty about the

right path to follow, since I

consistently produced

paintings with different motivation and different feeling.

In reality this kind of drawing was a new window to look across at things.

It was an art satisfied by itself and taking the full responsibility to please


9

and send a clear artistic message. I found this approach very useful for

artists for many reasons. It gives the artist another means to express his

feelings, and in some situations it may prove to be the right tool for it.

For Chinese and other far Eastern artists, drawing as a special means of

art was always an artistic tool to express historic events or details about

intimate daily life or to show the beauty of nature with all its variety, as

they excelled in drawing animals real and mythological, and they often

reached a high level of expertise in that art.

In contrast, European artists who reached in the art of painting the

highest degree of mastery, always unknowingly denied to drawing, to be

another artistic option that can be used independently in order to fully

satisfy an artistic ambition, or they unintentionally overlooked it and

missed the opportunity to excel in it. They generally used drawing for

preliminary work needed to help secure that mastery in painting. In fact

they used it to prepare for large paintings through sketches and studies to

avoid any regrettable mistakes, and many times to capture the general

idea of a large composition or as an “aide memoire” etc…. Through these

functions of art of drawing, artists have left us many exquisite sketches

like the ones by Leonardo De Vinci, Michelangelo, Raphael, Rubens,

Durer, and especially Rembrandt in his etchings as well as many others

such as Delacroix and Renoir. But very little was produced as independent

artistic work with a distinguished style that became famous by itself and

rose to an equal level as the art of painting.

Thus rises under these circumstances this paradox between East and

West that is not easy to understand. It would be helpful to have an


10

“Land and Men”

name of a book by art

critic Hani Abi-Saleh

about a collection of

paintings from Bekaa

valley by Al-Kach

published in 1974

intellectual rapprochement between the two sides concerning a very

popular activity such as art. It is a necessity to minimize the disparity and

create a common ground for working together in this important

intellectual subject.

LACK OF CLARITY IN PERCEIVING THE CONCEPT DRAWING

Maybe the reason behind the Western artists’ uncertain attitude towards

the concept “drawing” is that they never developed a clear and firm

perception of it.

Indeed after

following Perugino’s

way by respecting

and affirming the

linier discipline

established by some

predecessors,

Raphael surpassed

this limitation and started interfering in tones inside the painted area.

Later Ingres accused Delacroix of messing with drawing because he

doesn’t respect the lines in his paintings, the principle we just mentioned.

But if we look carefully, lines must be virtual rather than real, the same

way Vermeer perceived it, for this reason this traditional argument in its

physical pictorial meaning about lines seams to be incorrect and ill

founded.

This disagreement became clearer when impressionists abandoned totally

visual lines claiming that in nature we don’t see lines. Still Renoir had a

more careful outlook than the rest of the group although he was for many


11

the leader of impressionists. Even Monet, who was subject to many

criticisms because sometimes he went too far in abandoning drawing in

his painting, was not consistent in his attitude.

Truthfully this discussion was ill founded by both parties: those who insist

on lines and others who ignored them, since drawing is not about the lines

as such but about whether the object is well represented with the help of

these lines which cannot be a separate concept from the object itself.

This means object and drawing are two expressions of one single reality

which is objective figural representation. With this intrinsic tie between

the two concepts, drawing becomes a general reality that includes

monochrome and polychrome works and both should be called drawing in

technical and philosophical terms.

I imagine that if this perception had been the old master perception, the

state of art would have been totally different and art would have been

protected from excessive disoriented freedom as a result of the uncertainty

in understanding the concept drawing.

However the short experience of the Europeans in using drawing, and

their quick transition to painting could be the reason behind the missed

opportunity to use drawing as an independent medium of art and, before

that, the reason behind the uncertainty about the reality of drawing which

led art to the state of chaos that it is in today. This is exactly the opposite

of what happened to the Chinese who by relying on drawing as an art

since the 4th century AD after an early long experience, took their time to

excel in this field, and it became difficult for them to cope with the art of


12

Enthusiastic crowd at the

opening of one of the

exhibitions by Al-Kach at

GAB Centre in Beirut in

1980

painting in the advanced European way even after they were introduced to

it in the 18th century during Emperor Ch’ien-lung reign.

ART IS THE LAST RESORT IF MORAL LAWS COLLAPSE

There is no doubt that love of beauty is a deep elementary tendency in the

human being and it is meant to support survival tendency to make it

significant and relevant. In fact by loving beautiful things that attract us

we become more attached to this world and interested to enjoy living. This

is a universal principle that is at the base of our existence as human

beings.

Consequently, the will to create beautiful things or to fight ugliness also

serves our attachment to life. There is no doubt that the battle for beauty

is a battle for survival.

Thus, when we see that many achievements accomplished over the

centuries by great leaders and generations of militants for the benefit of

humanity to safeguard our kind, have been degraded and abused, we


13

The artist prepares for his 1991 exhibition at the

Municipal Library in Bath, U.K.

realize that there is a lot of work required from good artists in order to

give back some luster to noble ideas with “beauty” as guideline.

A final message for

artists belonging to

small countries that

their role is a unique

one, given the critical

time their nations

might be experiencing.

We all realize

unfortunately, that the

endurance of all

countries nowadays

relies solely on their personal power after the decline of international

institutions originally created to insure worldwide security with the help

of international laws. The independence and sovereignty of small

countries are especially threatened and, in fact, there is rarely one in this

category that is not suffering from this predicament. Of course this

problem is universal and tough to solve, but it urgently requires a solution

at the highest level even if such solution is currently non existent.

Still, artists in these small countries could make a difference by producing

a kind of art that gains the respect of the world to the point that they may

form with their art an intellectual umbrella to the country where they

belong.

F. Al- Kach


14


15

Biography

Fawzi Al-Kach was born in Zahle, Lebanon in 1933. He grew up as the

oldest of 6 siblings in a well respected family of land owners going back

several generations. In his early years he was surrounded by a simple

farming community steeped in the traditional values of self reliance and

hard work. This humbling upbringing left an impression on Fawzi that

would influence his art and writings for years to come.

Driven by a strong love for literature, language and the intellectual

curiosity and expression that can be derived from them, Fawzi pursued a

career as a professor of Arabic language, literature and philosophy at the

prestigious International Schools of Choueifat University Preparatory.

This career of more than 3 decades was accompanied by a personal pursuit

in the areas of art and literature.

Over the years, Fawzi produced a steady flow of art exhibitions and books.

In his art whether in oil, water color or ink, he always maintained a strong

connection to people and earth. Fawzi extended the impressionistic style

into his own form of artistic expression by using a bold and daring

approach to color and movement.

As a writer, Fawzi covered a wide spectrum of subjects, including poetry,

art critique, political commentary and socio-economic analysis. In all

areas, Fawzi dared to challenge conventional thought and pre-established

opinion by re-examining all the underlying accepted premises. This is

proving particularly useful in the new global environment we live in.


16

Chronology of Accomplishments

1968 - Published book "The Problems of Modern Art"

1968 - Recipient of Said Akl Prize for the book "The Problems of Modern

Art"

1969 - Art exhibition at Carlton Hotel

1970 - Elected Vice President of the Lebanese Association of Artists

1971 - Wrote "Mice and Men of Society"

1971 - Art exhibition at Hotel Carlton "Paintings & Sketches"

1973 - Art exhibition in Zahle by civic sponsorship

1974 - Art exhibition "Men & Earth" at Goethe Institute – The German

Cultural Center in Beirut

1974 - Subject of the book "Men & Earth" by art critic Abi Saleh

1978 - Art exhibition at Gab Center "Equality and Inequality"

1979 - Wrote “The Arabic Alphabet for Spelling the Thought”

1980 - Art exhibition at Gab Center

1980 - Art exhibition at Zahle sponsored by The Youth Center

1982 - Art exhibition at Gab Center

1991 - Art exhibition at the Municipal Library in Bath, England

1994 - Published "Spelling the Thought"

2001 - Published "Money & Inflation"

2006 - Published "Wealth of the People and Beyond"

2009 - Published "Economic Crisis Solution & Global Industrial

Revolution"


17

Plates

1. Tribute to beloved people

2. Bekaa Peasants in classical style

3. Scenes from daily life in the field

4. Geometrical abstractions with figurative groups

5. Fury and protest

6. Landscapes from Bekaa and other Lebanese areas


18


19

Tribute to beloved people

Self portrait


20

A bending woman


21

Young peasant eating


22

Two women having a meal


23

A woman carrying a jar with a child


24

Peasant leaning on a bag


25

A young boy holding a jar


26

Resting woman


27

A peasant holding her child


28

Woman leaning on a bag


29

Peasant entertaining a guest


30

A young boy running to his mother


31

A boy picking food from a tray


32

Women carrying a tray of food


33

Peasant in the field carrying a parcel, a horse in the background


34

Mother and child


35

Woman holding a plate


36

Conversation under a tree


37

Conversation, a woman leaning on a tree


38

Peasant dredging the earth with a fork


39

Two riders on a horse


40

Women praying to God


41

Peasant at work


42

Walking peasant and a rider heading to the village


43

Conversation, a woman with a plate


44

A man with a shovel, a woman holding a plate


45

Young man drinking water, a woman filling a bag


46

A woman leaning on a bag, another picking fruit


47

A peasant holding a tray of fruit


48

Feet of walking woman


49

A boy leaning on his hand


50

A peasant carrying a jar


51

Two women filling a bag


52

A man leaning on his hand, a woman filling her jar from the fountain and other


53

A woman carrying a parcel and a house on the horizon


54

A woman walking beside her donkey


55

Resting woman in the shade of a tree and a cavalier


56

A walking peasant, a cavalier


57

A house wife and a guest


58

A woman carrying some vegetable in a tied sack on her waist


59

Peasant with donkey


60

Peasant filling a bag


61

A woman with a parcel on her head and a child


62

Woman opening a bag


63

Peasant carrying a jar walking behind her donkey


64

Prayer of a young woman


65

A woman carrying a plate


66

Woman offering some food to a guest


67

Woman filling a bag of vegetable


68

Mother suckling a baby


69

Peasant with a plate


70

Farmer carrying a sack followed by a woman


71

Peasant and her donkey carrying a bag


72

A farmer strewing seeds


73

Mother walking with child


74

Worker napping on sack


75

Mother nursing child


76

Workers resting


77

Mother and child


78


79

Bekaa Peasants in Classical Style

Mother and Child


80

A worker on his way to the field


81

A peasant leaning on a sack

A worker steering his animal


82

Woman carrying a jar on her head


83

Figure representing Lebanese people asking for an end to the conflict. (This subject was

repeated four times with slight differences)


84

A woman reading

A house wife grinding grain with a hand mill


85

Figure representing Lebanese people asking for an end to the conflict. (This subject was

repeated four times with slight differences)


86

A worker filling a bag


87

A young woman offering water to a young man

Packer and his mule


88

A boy carrying a food parcel

Young peasant carrying a bag


89

Two peasants having a casual meal, familiar scene

Workers doing various activities


90

A woman carrying a jar on her head


91

Peasant carrying a parcel of food and a stick


92

Figure representing Lebanese people asking for an end to the conflict. (This subject

was repeated four times with slight differences)


93

A woman carrying a large vessel and a basket

A child resting in his mother’s arms


94

Composition of a group of horses

Scene of horses


95

A woman carrying a jar and a parcel of food


96

Seated peasant


97

A sad woman

A horse

drinking

from a

rivulet


98

Studies of horses

A woman pulling her donkey


99

Young woman offering coffee


100

Stumbling horse

Old woman kneading dough


101

A packer and a mule

Woman and child on a horse

A tumbling horse and horseman


102

Studies of landscapes and seated women

Different scenes of mother and child


103

Two young men wrestling in the traditional friendly way


104

Three couples performing folk dancing

Tired woman leaning on a bag


105

Ashwick Hall, a school in England belonging to SABIS where the artist stayed for 18

years from 1983 to 2001


106

Broken jar and other studies of mother and child

The animal as vehicle of transportation, different scenes


107

English young woman having a hot drink


108

A study of a woman filling a bag and a man on his horse

Different scenes from daily life in the field


109

Figure representing Lebanese people asking for an end to the conflict. (This

subject was repeated four times with slight differences)


110

Young woman entertaining a guest


111

Return from the field

Different scenes of traveling


112

A man clapping to stir up a dancer


113

The stick to lean on, to hit, to cook, to warm…

A tiller behind oxen


114

A woman in a traditional dress


115

Falling water and two feet


116

Two women filling a large bag


117

Old man leaning on his stick


118

Study of two women doing some routine work and a fallen sack of potato on the ground


119

A dancer and a man beating a drum

Three dancers and a man playing the flute


120

Enthusiastic dancing couple


121

A man lifting a heavy parcel and a donkey


122

A woman dancing to flute music


123

Scenes from daily life in the field

Three horses in a field


124

A traveler passing by a woman working in the field

Two women eating, others working

Bag and jar, a cavalier riding his horse


125

A quick chat between two peasants going in opposite directions

A man talking to a woman another working on the other side of the road


126

A worker dredging the earth with a fork, a woman manipulating a sack

A worker a woman some birds over a tree

A farmer strewing seeds


127

A tiller slitting the earth and a woman planting

A woman pouring out the water to another woman

Peasant carrying a jar across the field, a horse in the other side of the road


128



129

A packer behind a mule carrying a travelling bag

A man and a woman carrying sacks


130

A worker behind his oxen and a peasant

A worker tilling the earth followed by a peasant throwing seeds


131

Two peasants in their way to the work

Cavalier on his horse accompanying a peasant

A woman offering water to another laying in the shade of a tree


132

Peasants in their way to work

Two sacks in a landscape


133

Workers picking the grapes

A packer laying a bag on the back of his donkey

Conversation about the weather


134

A woman eating, a house in perspective

A woman eating

Peasant picking straw


135

Two peasants eating, another in the field

A peasant carrying a sac, a woman in the middle of the field

Sacks and a jar in the front of a landscape


136

One peasant holding a shovel another riding a horse

A woman carrying a parcel and a traveler on his horse

Two peasants one holding a bag another rushing toward two grazing animals


137

A worker and a peasant throwing the cedes

A scene of working peasants with a house on the horizon


138

A farmer and a woman behind him

Woman and child, a traveler on his horse


139

Group of workers picking corn

One woman picking an ear of corn


140

Peasants picking vegetables

A woman filling her jar from a fountain


141

Workers in the field and a carriage

A group of workers and a carriage in the depth

Two workers dredging the earth and a carriage


142

A scene including a number of peasants doing different works

A woman leaning on a bag another on her donkey a third one inside the plantation

Two workers, a carriage and a village in the horizon


143

Four scenes of people performing familiar activities


144

Four figures in different situations


145

A sleeping woman another one eating, a man going to work and another dredging the field


146

Two woman filling a bag and others doing different activities


147

A cavalier riding his horse a mother cuddling her baby


148

A peasant destroying parasite herbs, two other chatting a third one holding her baby and a

reclining one


149

Theatre and players Plate 1


150



151



152



153

Geometrical abstractions with figurative groups

A woman riddling another filling a vessel


154

Peasant pulling a bag


155

A worker smashing stones


156

Group of peasants heading to the field


157

Peasants filling a bag


158



159

Peasant steering a donkey


160

A woman pulling a bag, a home in the background


161

Two peasants and an animal


162

Group of peasants eating


163

A man and a woman on a donkey


164

A woman holding a bunch of straw


165

Fury and protest

A terrified woman with a burning home


166

Mother and child


167

A woman displaying the body of her young child


168

A man showing his dismay, one person on the floor


169

A person walking in the tempest


170

A terrified woman


171

A young boy covering his face of fear


172

A youngster expressing dismay


173

Help and consolation


174

A man running with injured child


175

Group of cavaliers


176

A mother grieving over her child


177

Group of cavaliers


178

Exhausted woman filling a bag


179

Landscapes from Bekaa and other Lebanese

Areas

1


180

2

3


181

4

5


182

6

7


183

8

9


184

10


185

11

12


186

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15


188

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189

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216

57

Al-Kach Drawings

Bekaa Valley Peasants

bekaa valley peasants

Documents

bekaa peasants

lebanese areas

great britain author

great britain email

independent art

form of art

problems of modern art

country lebanon