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308:; he repetitively visited Bompiani's house but the latter's servants did not allow him an interview. Frustrated after weeks of failed attempts, Corm threw down his portfolio and quarreled with the professor's servants. Bompiani was alerted by the commotion and came out to find the foreign looking man disheveled and his paintings scattered on the floor. The professor picked up one of Daoud's paintings and recognizing the young man's potential, he took him under his tutelage. Corm spent the next several years studying at the academy and visiting museums and churches and copying the works of the
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204:, an art supply store and art studio centrally located near Beirut's post office. Its significant commercial success indicated a growing public interest not only in art viewing but also in art making. Corm exhibited his work abroad in Egypt and Europe, most notably at the 1889 Versailles Exhibition in France and at the 1900 Paris Exhibition, where he received the Prize of Honor of Excellence. Additional recognition of his career includes receipt of the Lebanese Order of Merit and the Ottoman Medal of Glory. In 1930, Daoud Corm died in Beirut at age 77.
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saying that it was his duty to tutor and educate the princes so that they become worthy of their father's standing. The impressed Emir Bachir replied to Sham'un "by God, you are truly one valiant spirited steed!" and rewarded him with a large purse of gold coins and a permanent appointment as court clerk and instructor which Sham'un would occupy for the next eighteen years of his life. From then on Sham'un was known as
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520:(Qaisarr Jumayil) (1898-1958), Saliba Douaihy (Saliba Duwaihi) (b. 1915) and Rachid Wehbi (Rachid Wahbah)(b. 1917), Corm is regarded as a pioneer, having laid the foundations for a modern Lebanese arts movement. This group of artists defied the imposed emphasis on religious works, and instead established an originality and freedom of expression that had never before been seen in Lebanon.
497:' works. This emphasis on human anatomy and the formal traces of Renaissance masters is apparent in Corm's portraiture. Corm painted his subjects in a three-quarter view in soft light against a dark background. He paid particular attention to the details of his subjects' social and professional standing. In addition to portraits, Corm painted few landscapes and genre scenes
532:, his once travel companion to Italy. He painted a great number of religious works that are found not only in his native Lebanon but also in neighboring Syria, Egypt and Palestine. According to Lahoud, Corm rid Lebanese religious art from a traditionalist, local neo-gothic style and, by introducing classical painting, started a movement of academic art-making in Beirut.
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and as a tutor to his children. The young princes were contemptuous of their adolescent teacher who lost his temper because of his pupils' constant defiance and slapped the eldest of them in the face. When confronted by Emir Bashir, Sham'un exhibited courage and rectitude and justified his act by
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merchant family that demonstrated its cultural capital by investing in art patronage. Corm was commissioned portraits for Khalil Bey
Surscok in 1882, Mahjet Sursock in 1892, Moussa Sursock and his wife Anasthasia Dagher in 1897. Other clients were no less notable and included
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Early biographers relate that friars from the Jesuit
College of Ghazir discovered Daoud's drawing skill when he was only nine years old. Corm's talent was furthered in his apprenticeship in the Jesuit college, where the friars pushed him to pursue painting studies in
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189:, the Italian court painter. During his five years in Italy, Daoud Corm studied the works of Renaissance artists whose influence was evident throughout his works. He gained official recognition when he was commissioned to paint a portrait of
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was met with refusal. Despite this setback, Corm drew the pope the same night from memory. Bompiani was impressed by his student's feat and presented the finished portrait to pope Pius who blessed the painting. The portrait is now part of
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to join the growing community of Beirut's merchant families. Corm sought the favors and patronage of this class of bourgeois merchants when he settled back in Beirut in 1878. To appeal to the
Beiruti nobility, Corm engaged
394:. By using a business card of him portraying the pope, Corm aimed to sell for a bourgeois artist whose artistic aptitude and western education was endorsed by the foremost potico-religious leader of the time.
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Corm benefited from the growing interest in art in Beirut and facilitated the spread of the craft by opening an art supply shop in the center of Beirut in 1912. His shop, called
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because of the limited market for these types of paintings; in contrast to his portraits, Corm's genre scenes are described as theatrical and overly staged as evident in his
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church to pay for his travels to Rome. In 1870, after several days of foot travel, the eighteen years old Corm arrived in Beirut where he boarded a French ship headed to
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373:) that brought changes to Beirut's political and administrative roles. The reforms, along with low import duties for foreign merchants, the establishment of the
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made Beirut the unrivaled port city of the Levant. The flourishing city attracted a host of families migrating from Aleppo, Damascus, Tripoli, Acre, Sidon and
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for developing pictures of the first handheld cameras. Corm himself took interest in the newly introduced technology and took photographs of his family.
197:(reg 1892–1914) in 1894. Daoud Corm was a religious painter and there are many of his paintings in churches across Lebanon, Syria, Egypt and Palestine.
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On 24 July 1874, Daoud dispatched a letter to his family informing them that his travel companion to Rome, father Rukoz, promised to introduce him to
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in 1852. He was one of three children born to an affluent family of scribes and clerks. His father Sham'un
Hokayem, also known by his court title
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During his formative years in Rome, Corm spent much of his time in the city's museums copying the facial expressions and hand gestures of the
162:(1852–1930), David Corm in English, was an influential Lebanese painter and the father of writer, industrialist, and philanthropist
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Urban transformation of
Ottoman port cities in the nineteenth century: change from Ottoman Beirut to French mandatory Beirut
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in 1850, the building of the new wharf, the construction of the Beirut-Damascus road and the population surge following the
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collection. After his training in Rome, Daoud moved to
Belgium where he served as one of the official painters to the
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Rogers, Sarah (2010). "Daoud Corm, cosmopolitan nationalism, and the origins of
Lebanese modern art".
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Corm's first client was the
Maronite church especially under the patronage of then Maronite patriarch
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193:(reg 1846-78). Upon his return to Lebanon in 1875, he painted portraits of many Arabs including
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Charles Corm: An intellectual biography of a twentieth-century
Lebanese "Young Phoenician"
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1308:. The Levant and Near East: A multidisciplinary book series. Plymouth: Lexington Books.
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Colors of
Enchantment: Theater, Dance, Music, and the Visual Arts of the Middle East,
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In 1912, Corm expanded his artistic enterprise and its public appeal when he opened
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Language, Memory, and Identity in the Middle East: The Case for Lebanon
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Low import duties applied for foreign merchants was a result of the
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The Arab Imago: A social history of portrait photography, 1860-1910
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Between 1839 and 1876 the Ottomans issued a series of reforms (the
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Portrait of a Lebanese nobleman (c. late 19th-early 20th century)
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Still life - The Watermelon (c. late 19th-early 20th century)
452:(House of art) was a commercial success and later included a
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Malouf, Bishara (1944). "The birth of painting in Lebanon".
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Two of the sketches drawn by Corm during his stay in Rome.
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and title that stuck to him and eventually turned to be a
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Priest Youhanna El Hage (c. late 19th-early 20th century)
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Among Corm's first aristocratic Beiruti clients were the
421:(1917), a polymath, philanthropist, the founder of the
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Reviving Phoenicia: The search for identity in Lebanon
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Signature of Daoud Corm from one of his 1899 paintings
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The Mourning Virgin (c. late 19th-early 20th century)
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Mathaf encyclopedia of modern art and the Arab world
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along with his future patron and Maronite patriarch
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Prize of Honor of Excellence, 1900 Paris Exhibition
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1131:American University of Cairo Press, 2001, p. 369
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228:. The teenage Sham'un was enlisted as a clerk to
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1247:(M.Sc. thesis). Middle East technical university
1203:. Beirut: Librairie Orientale. pp. 1–9.
181:In 1870 he went to Rome and enrolled at the
166:. He was a teacher and mentor to the young
280:Corm sold a number of paintings to a local
272:Sketch by Daoud Corm during his studies in
170:as well as Khalil Saleeby and Habib Srour.
564:Detail of The Sacred Heart of Jesus (1880)
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1385:Beirut: Éditions de la Revue phénicienne.
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288:. He traveled by train from Naples to
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1182:. London: I.B.Tauris. p. 288.
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891:. Mathaf: Arab Museum of Modern Art
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1367:. Princeton University Press.
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212:Daoud was born in the town of
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1323:Samaha, Nour (June 4, 2007),
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600:Saint John the Baptist (1923)
300:. Corm sought to study under
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503:Bedouin woman with her child
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1200:Contemporary art in Lebanon
423:National Library of Lebanon
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1233:. Beirut: Dar al-Mu'allef.
1118:Rogers 2010, pp. 67–68, 77
588:Our Lady of Victory (1887)
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1441:19th-century male artists
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1227:Mohasseb, Nadine (1998).
550:The Sacred Heart of Jesus
244:meaning "The Trunk"), an
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1361:Sheehi, Stephen (2016).
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1302:Salameh, Franck (2015).
1281:Salameh, Franck (2010).
1262:The Arab Studies Journal
1197:Lahoud, Edouard (1974).
1034:Mohasseb 1998, pp. 56–57
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746:View of Achrafieh (1881)
433:a leading figure in the
1176:Kaufman, Asher (2014).
1004:Rogers 2010, pp. 52, 56
437:literary movement, and
425:and the curator of the
276:in Rome. (c. 1870-1875)
258:Rome's fine art academy
185:where he trained under
1109:Rogers 2010, pp. 56–57
1091:Sheehi 2016, pp. 38–39
1061:Öztürk 2006, pp. 56–72
1052:Sheehi 2006, pp. 77–78
808:Rogers 2010, pp. 65–66
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358:Emile Hannouche Museum
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1436:19th-century painters
1403:at Wikimedia Commons
1383:Daoud Corm 1852-1930.
1230:Daoud Corm, 1852–1930
932:Salameh 2010, p. 129.
766:Treaty of Balta Liman
379:1860 Lebanon conflict
375:Ottoman Imperial Bank
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340:In Beirut (1878-1930)
306:Accademia di San Luca
274:Accademia di San Luca
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264:In Europe (1870-1878)
183:Accademia di San Luca
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101:Accademia di San Luca
1381:Tomb, Marie (2013).
1043:Civantos 2015, p.304
508:Along with artists,
330:Belgian royal family
1287:. Lexington Books.
1140:Lahoud 1974, pp.1–2
524:Religious paintings
495:Renaissance masters
460:Style and influence
419:Philippe de Tarazzi
417:magazine; viscount
292:and resided in the
1013:Salameh 2015, p.80
986:Kaufman 2014, p.88
968:Salameh 2015, p.79
959:Sheehi 2006, p. 77
923:Salameh 2015, p.77
909:Salameh 2015, p.76
820:Kaufman 2015, p.88
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439:Ibrahim al- Yaziji
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298:Elias Peter Hoayek
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143:Elias Peter Hoayek
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1220:The Eastern Times
1127:Zuhur, S. (ed.),
1100:Rogers 2010, p.69
1082:Rogers 2010, p.67
1073:Rogers 2010, p.53
1025:Rogers 2010, p.74
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950:Rogers 2010, p.49
856:Sheehi 2006, p.78
847:Rogers 2010, p.54
796:Rogers 2010, p.52
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1426:1930 deaths
1421:1852 births
895:18 December
838:Samaha 2007
640:Saint Maron
625:Saint Peter
443:philologist
310:Renaissance
87:Nationality
78:6 June 1930
1410:Categories
1401:Daoud Corm
866:Daoud Corm
776:References
666:Patriarch
334:Leopold II
222:al-Chidiac
208:Early life
160:Daoud Corm
56:1852-06-26
50:Daoud Corm
23:Daoud Corm
1342:Discourse
1170:922089081
514:Omar Onsi
312:masters.
138:Patron(s)
97:Education
1354:41389741
1331:, Beirut
1274:27934078
454:darkroom
435:al-Nahda
415:al-Hilal
398:Sursocks
370:Tanzimat
282:Maronite
250:retronym
111:Painting
91:Lebanese
29:داود قرم
536:Gallery
499:on spec
400:a rich
362:Chtaura
246:epithet
242:Al-Qurm
238:Al-Corm
68:Lebanon
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332:under
286:Naples
226:Ghazir
214:Ghosta
125:Awards
117:Spouse
64:Ghosta
1350:JSTOR
1270:JSTOR
1245:(PDF)
752:Notes
694:Emir
1369:ISBN
1310:ISBN
1289:ISBN
1253:2015
1222:(1).
1205:ISBN
1184:ISBN
1166:OCLC
1158:ISBN
897:2015
290:Rome
240:(or
230:Emir
75:Died
46:Born
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
