599:. To stand in the central space surrounded by Nabil Kanso's 12-foot-high paintings is as close as you get to being in the middle of a fire. Using lurid oranges, yellows and reds, Kanso fills every inch of canvas with visions of violence and human suffering that rival medieval descriptions of Hell. One painting went the entire length of the room, maybe 30 feet. I felt like a coward. It was almost impossible to look at the power and extravagance of these scenes, so I turned instead and looked at the faces of the other onlookers. In their faces were the reflections of the painted holocaust around us. I turned again to the painting which now entrapped is in a cage of feeling. It is noted by some critics that "Kanso's highly expressive personal style evokes experiences and visions that reveal the inner essence of a reality lying beyond its external aspects". A view of a troubled world is portrayed in compositions whose imageries carry the art towards issues of human concern. They record intense, harrowing images of haunting themes voicing universal expressions on human brutality and suffering. In the opinion of some art critics "Kanso strong colors and powerful brushstrokes blend with the subject matter: world chaos." It is further noted that the battle against large formats cannot be won but with a strong determination and an absolute mastery of technique. These are inseparable and preconceived. The dynamic handling of the pictorial layout has a total identification with Kanso's topical matter. His powerful themes could in no way be handled with softer and milder style designed to make them palatable. By way of parallelism, Kanso's work is a harmony of style and subject matter.
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his paintings. "The intensity of the portrayed scenes heightens the atmosphere of fear and oppression", one critic remarks, "and awakens us or at least gives our dream an authentic vision of the final disaster." They open a window through which we contemplate and ponder on our precarious existence, beginning with the most intransigent and total fact of contemporary fear: total extinction. "They reveal, the never-ending darkness existing in an ephemeral glare right before bursting. The power of weapons is a terrible and absurd reality which mutates the space of human warmth." "The very idea of the possible destruction of the planet by nuclear war has totally changed our view of the world," observed
Octavio Paz. "Meanwhile," a critic notes, "the world debates on perpetual small wars undermining the planet with ongoing disasters. The destruction and devastation of war are shown to us in the images of Nabil Kanso who Venezuelans came to know him as the Painter of the Apocalypse." He faithfully expresses orphanage, rage and the importance of living. "His mural paintings," a critic observed, "stand as a tribunal in interpreting and transmitting the voices that burst out of the canvases in a massive force, and plunge into an apocalyptic storm."
515:. Here he shows women suffering by losing a child becoming victims of war. "The victims," an art critic writes, "are the newborn torn out of wombs or clinging to mothers fleeing natural catastrophes or political disasters." It is noted by some critics that motherhood is important with Kanso's women; you see mothers at the moment of birth and in death holding children in their arms. The bars that recur from one work to another are sometimes placed at the opening of the woman's womb. The children suffer with their mothers as fire, storms, or ice intensifies the human situation. People of different religions are united in suffering and passion in these works of art. The noted lack of greens in Kanso's art marks his criticism of destruction of the environment. Nothing can grow during war. Flesh and blood appears to be everywhere. Water is for drowning, or for freezing. Icicles look like hairy insect legs or barbed wire. The rarely discerned sky sometimes reveals a glimpse of the forefathers like pale blue ghosts look down at their descendants. War has a major influence in his work and has made his work become almost biblical and it's represented in his paintings dealing with war and apocalyptic themes, and the
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horrors of the war in
Lebanon that he is painting, it is as much the disasters of war in Vietnam, Nicaragua, and El Salvador. Rows of canvases are swarming with figures fleeing, fighting with each other, eating each other." Another critic observed "canvasses rolled up in great numbers like mummies," and noted the connection between the linen cloth in Egyptian wraps and Kanso's own life. His father founded a linen cloth business in Mexico. In describing a visit to his studio, an art critic wrote "walking around was like taking a tour of Dante's Inferno. With agitated brushstrokes and lurid oranges, Kanso has produced a roomful of frightening images reminiscent of late Goya's mural, all the more menacing because they are over 7 feet tall". A reviewer remarked "Startled is a weak word to describe my reaction. Every wall covered with paintings that reached the ceilings. In some places, the paintings were leaning against each other several deep. Others, lots, rolled up on the floor. It was hard to believe one man had done all of this. It wasn't just that the paintings were large but their content was brilliantly focused, it came from a seeming struggle going on in a landscape that appeared biblical."
391:(1987–88). The exhibitions were an invaluable stimulant in initiating the Journey of Art for Peace through which his works were shown under the auspices of art museums, cultural institutions, and peace centers in extensive solo exhibitions that traveled internationally and particularly in Latin America. Kanso displays his works by covering the entire walls of the exhibition space with his paintings. The installation surrounding the viewer aims to convey the intensity between the reality of the subject matter and the actuality of painting, and reflect the artist's engagement with the canvases whose contents represent his visual life and relationship to conflicting Eastern and Western cultures and traditions.
570:. A total war, a pure war, one in which destruction is rallied to the absolute in conjunction with the corporeal and everything "else" is relegated to the status of target or cipher, a demarcation of the site of a bullet, bomb, or rocket. Hell is nothing but what it is. His paintings transmit images of the palpable reality of a world where pain, suffering, brutality, and destruction are everywhere. "They provide," a critics notes "a powerful indictment and denunciation of wars in the Middle East and Central America. Hence the mural-scale format enveloping an enormous space in projecting harrowing images as a consequence of war."
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546:. The paintings show the whole gamut of human suffering and pain. The tortured language itself makes his work a universal manifestation of solidarity and protest against the proliferation of war. The canvases reveal a world permeated by a chain of chaos and violence in a hellish environment from which people are desperately trying to escape in order to survive. They find themselves immersed in an incisive and violent totality in which they are trapped.
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168:. Kanso began his career in 1968, New York during the start of the neo-expressionist movement. His works dealt with contemporary, historical and literary themes, and were marked by figurative imagery executed with spontaneous and vigorous handling of the paint and often done on large-scale formats. They reflected movement and tension embodying intense colors and
301:, and Expressions. Although the exhibitions drew attention and reviews, the lack of sufficient subsistence forced the closing of his studio whose contents including over 700 works were placed in storage, and, eventually, lost or destroyed. Between 1974 and 1979, Kanso took studios in different locations in
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War and apocalyptic themes are central focus of Kanso's works since the early seventies. They provide the primary basis for his large-scale paintings responding to war and depicting apocalyptic visions "Over the course of his career," an art critic writes, "Kanso created an extraordinary body of work
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For more than 20 years, the studio was an attractive place for many visitors. A critic described it as "filled with enormous paintings representing a kind of a nightmare about the war in
Lebanon, which has been the subject of Kanso's large paintings since the war started in 1975." It is not just the
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that broke out in 1975 The works are characterized by the consistency and relatedness of their subjects and themes dealing with violence and war. In emphasizing the issues and bringing attention to the destruction, devastation, and suffering resulting from perpetual wars, Kanso took his paintings to
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Nabil Kanso's works have been said to be apocalyptic in many ways, in Kanso's works he paints scenes of destruction, destroyed buildings, and people usually naked with looks of horror on their faces. He uses red, orange, and yellow to resemble fire, dark colors as if he was painting a nightmare or a
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The reality of what is happening in a war zone and what is expressed in the painting underlines the relationship of the artist's mental and physical involvement with the work. He expresses a juncture between his supercharged psyche and our anxiety and fear, provoking the explosion we see and feel in
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is a depiction of the country in a time of war. The dark grays and black make for a gloomy, sad mood. In the center, it appears as though there is a power struggle between rugged figures. There is one power trying to over come the other. The way kanso uses blurry images gives a creepy feel. While in
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featuring works from 1976 to 1984, wrote "The synchrony and diachrony of the works cross a still point in which the show is no longer a total of 27 paintings, but only one." A critic viewed the works linkage at an exhibition in
Atlanta as "a net, a polyvalence of economic, cultural, political, and
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In 1958, Nabil Kanso had to stop going to school in
Lebanon due to the civil war. In his biography, he talks about how he spent much of his time at the houses of friends and families doing sketches and painting to pass the day. The Lebanese Civil War gave a lot for young Kanso to paint about. His
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The emotionally steering images draw the interest and involvement of the public in witnessing the violent events in scenes filled with pathos and tensions that reach extreme intensity. The depicted horror, one critic notes, present a form of interiority as for example in the interior of
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dealing with war and apocalyptic themes that open up the visions of apocalyptic art." In dealing with horrors of war," another critic writes, "Kanso creates enormous paintings that serve as powerful weapons in fighting war." "Kanso declares war on war," reads a headline article on his
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In carrying out his work Nabil Kanso appears calm and quiet. But the light of fire in the paintings look like nightmares which he has to work through, often spending several months on one painting. Kanso's outstanding mural-scale paintings are a cross between the specificity of
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a critic wrote "the installation of Kanso monumental paintings projects an immense space charged with a high level of intensity closely connected to the tension and anxiety that we face in the world today. His apocalyptic paintings offers us a voyage to the hells of our time."
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sexual discourse." The net is not just a formal manipulation to tie the divergent contents of the paintings together, but "a very real device that grew out of the complex discourse of the paintings and ultimately from the poetics of the painter." At a 10-year survey in
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the background it appears as though there are skeleton like figures. His brush strokes are very apparent and give the painting its life even though it is all about death. It is clear that Kanso drew from the time of the war by the way he make the paintings so solemn.
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South, and in 1968, moved to a larger studio on East 76th Street where it remained until 1974 when it was seized and its contents were placed in storage, and, eventually, lost. For a period he worked in New York and in different cities in the
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Postmodernist Art: Definition, Characteristics, History of
Postmodernism Movements, Contemporary Installation/Video Art: Turner Prize. Encyclopedia of Art Education. Web. 13 Apr. 2012.
529:. Nabil Kanso's apocalyptic themes can be said to be linking with the destruction of the Middle East due to war, to the destruction of the birthplace of Jesus and Christianity.
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In 1971, Kanso held his first one-man show at the 76th Street
Gallery exhibiting 80 paintings that included portraits and nudes in compositions reflecting in varying degrees
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The exhibition of works related by subject and theme projected a sense of overall-ness, a sense of one painting running into another. A reviewer of an exhibition in
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He uses apocalyptic science in his art work making them almost biblical by painting his work with earthquakes, floods, ice, fire and blood referring this to the
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paintings comprise approximately 80 mural-size paintings executed between 1974 and 1994, and were the main focus of Kanso's work during the 15-year
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influences. Between 1971 and 1973 he held a series of solo shows that included the
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series encompassed an extensive range of enormous paintings depicting scenes of human brutality and suffering.
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profoundly affected the development and scope of his themes dealing with violence and war. His long-running
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In 1980, Kanso established a studio in
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fell apart after skepticism in mankind's inherent goodness came about after the Holocaust.
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Nabil Kanso's Split of Life Paintings: Looking for the Poet: Power, Death, and Sexuality
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The Lebanese Civil war was not the only influence in Kanso's work but also the wars in
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Navil Kanso, Nabil Kanso Artworks, Kanso's Art, Kanso's Paintings and Works on Paper.
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producing a large number of paintings. Among the works of this period are the series
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and the continuing war in the Middle East. We can clearly see this in his paintings
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Nabil Kanso: The Split of Life: Looking for the Poet: Power, Death, and Sexuality
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Nabil Kanso Paintings of the Apocalypse Herald a Reality of Universal Dimensions
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throwing out the traditional narrative the "life has meaning".
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1674:, Ord & Bild, pp. 42-45, January, 1986 Stockholm, Sweden
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Erminy, Peran: the Apocalyptic Paintings, El Nacional, p. 3.
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Early in 1967, Kanso set up a studio on East 20th Street at
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Ord & Bild, pp.42-45, January 1986, Stockholm, Sweden
827:"Nabil Kanso Obituary (2019) Atlanta Journal-Constitution"
769:"Nabil Kanso Obituary (2019) Atlanta Journal-Constitution"
749:"Nabil Kanso Obituary (2019) Atlanta Journal-Constitution"
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forms addressing social, political, and war issues. The
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1241:, Exhibition Catalog, pp.5-6, Ateneo, 1987, Caracas
1704:, Vår Lősen, pp. 378-81, 1997, Stockholm, Sweden
1096:, Vår Lősen, pp.371-381, 1997, Stockholm, Sweden
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394:Among the works of this period are the series
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1532:, Panorama, p. 8, April 28, 1985, Maracaibo
1185:, Columna, pp. 8-9, May 21, 1987, Maracaibo
890:Eye on New York: Kanso's Show at 76th Street
1445:Nabil Kanso's Lebanon: Guernica of Our Time
591:'s 'Horror of War' and the universality of
359:(1976–79) comprising over 100 paintings on
1575:, Art Papers, pp. 23-26, November, 1986
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1165:the Apocalyptic Paintings of Nabil Kanso,
955:Nabil Kanso, 1996-2009. Web. 12 Apr. 2012
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1419:Between Horrors and Dominating Rupture
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1316:, Panorama, April 14, 1985, Maracaibo
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814:The Split of Life: Paintings 1974-1994
678:The Split of Life: Paintings 1974-1994
1660:, Kanso Studio, August 2001, Atlanta
1642:Artist Inspired by War-Torn Homeland
991:Artist inspired by War-torn Homeland
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1282:Expressions: A Protest Against War
164:17 November 2019) was an American
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816:, NEV Editions, Atlanta, GA, 1996
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1471:The Atlanta Journal-Constitution
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875:What Is Post-Modernist Art?
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978:Faust: Paintings 1976-1979
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533:War and apocalyptic themes
69:17 November 2019 (aged 79)
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1719:, Atlanta Journal, p. H5.
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1865:Censorship in the arts
1860:Painting controversies
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1702:Nabil Kanso: Life Work
1687:From Odessa to Atlanta
1381:Nabil Kanso Apocalypse
1314:The Art of Nabil Kanso
1270:, Nexus, Atlanta, 1985
1094:Nabil Kanso: Life Work
849:Nabil Kanso: Biography
712:, NEV Editions, 1997,
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694:: Paintings 1976-1979
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496:The Vortices of Wrath
1850:Artists from Atlanta
1672:Guernica of Our Time
1616:, Art Papers, p. 24.
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903:Kanso at 76th Street
651:Kanso's studio, 1984
1840:Artists from Beirut
1280:Rossi, Ildebrando:
1183:Space Cry, Time Cry
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1111:, Vår Lősen, p.380
1024:Spanish articles in
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451:The Dance of Salome
349:suite (1978–79) on
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1731:An Artist Response
1484:An Artist Response
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403:Apocalyptic Riders
327:Lebanese Civil War
299:Place des Martyres
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225:where he received
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178:Lebanese Civil War
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795:on 2008-11-21
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789:"Articles in"
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111:Notable work
1800:2019 deaths
1795:1946 births
1790:Nabil Kanso
1612:Kurlansky:
1599:Kurlansky,
1430:Fuenmayor:
1404:El Nacional
1301:Expressions
1217:Space Cries
1215:Fuenmayor,
1168:El Nacional
1072:El Nacional
564:El Salvador
552:Afghanistan
476:(1995–96),
472:(1993–94),
430:(1984–85),
418:(1982–83),
412:(1980–81),
409:DreamVision
311:New Orleans
291:romanticist
235:art history
208:mathematics
174:Vietnam War
158:Nabil Kanso
80:Nationality
35:Nabil Kanso
23:Nabil Kanso
1784:Categories
1586:Figueroa:
1544:Figueroa:
1487:Art Papers
1432:Time Cries
1312:Rossi, I:
1266:Sondheim:
1053:Art Papers
967:, pp.11-12
861:2007-10-25
832:Legacy.com
799:2007-10-25
774:Legacy.com
754:Legacy.com
736:References
718:1888536195
702:1888536152
686:1888536217
527:apocalypse
518:Apocalypse
421:Apocalypse
351:jazz music
332:One-Minute
239:philosophy
1762:Paintings
1729:Seaberg,
1658:Life-Task
1421:, pp. 5-6
1417:Guevera:
1256:, pp. 3-4
1123:Life work
1109:Life Work
631:Maracaibo
606:paintings
560:Nicaragua
493:painting
478:Portraits
466:1990–91,
448:(1980s),
381:Maracaibo
377:Venezuela
371:1980–2007
337:Hiroshima
295:symbolist
281:1970–1979
275:Modernism
247:Manhattan
206:studying
90:Education
1603:, p. 24.
1515:Erminy,
1501:Erminy,
1451:Archived
1370:, pp.5-6
1340:Erminy:
1286:Panorama
1252:Erminy,
1202:Al-Watan
1136:Erminy,
1078:Archived
724:See also
597:Guernica
540:Gulf War
454:(1988),
424:(1984),
406:(1980),
400:(1980),
383:(1985),
341:Nagasaki
319:(1974),
259:fine art
219:New York
176:and the
170:symbolic
142:Movement
104:Painting
84:American
1773:America
1760:Lebanon
1327:Peran:
1299:Rossi:
1125:, p.380
923:ARTnews
708:Othello
643:Studios
636:Caracas
593:Picasso
568:Vietnam
556:Lebanon
506:Vietnam
433:Othello
415:Lebanon
385:Caracas
322:Lebanon
316:Vietnam
307:Atlanta
267:writing
212:science
200:England
166:painter
123:Lebanon
59:Lebanon
46: (
1775:series
1590:, p. 4
1434:, p. 9
1357:, p.12
1219:, p. 8
1038:, p.11
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544:Kuwait
474:Bosnia
463:Kuwait
389:Mérida
361:Goethe
353:, and
343:, the
309:, and
265:, and
160:(1940
55:Beirut
1715:Fox:
1548:, p.8
1519:, p.3
1505:, p.3
1344:, p.4
1331:, p.4
1140:, p.2
692:Faust
672:Books
662:South
523:bible
365:drama
356:Faust
255:music
135:Faust
714:ISBN
710:1985
698:ISBN
682:ISBN
589:Goya
482:Iraq
346:Jazz
339:and
293:and
263:film
241:and
229:and
210:and
66:Died
48:1940
44:1940
41:Born
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