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Lot Essay
‘She is, in the broadest meaning of the word, a humanist; sensual and spiritual, erotic and sentimental, humourous and playful, fearful and daring, compassionate and detached, pragmatic and impulsive. All these qualities are found in her art’
–Helen Khal
Charming the art world with her distinctive avant-garde style and outspoken character, Huguette Caland is arguably the most influential Lebanese contemporary feminist artist. Born in 1931 in Beirut as the only daughter of the first President of the Republic of Lebanon Bechara El Khoury, Caland gained fame for her pioneering, bold and overtly sensual series of Bribes de Corps. Inspired by her own body and femininity, these large, exuberant, semi-abstract paintings challenged the patriarchal society that dominated Lebanon in the 1960s and 1970s. This outstanding example from the series captures Caland’s mastery of both form and colour. The curved geography of the body extends beyond the canvas borders, merging with a vivid expanse of yellow that leaves us in front of what seems like a landscape. Upon closer inspection however, the simple curved line evokes the sensual contour of the female breast, captivating in its open yet subtle sexuality. Celebrating femininity at its most exultant, Caland sought inspiration from the leading western female artists of her time, such as Georgia O’Keefe and Niki de Saint Phalle, who also explored suggestive natural forms and bright colour palettes. Radiating charisma, luminosity and intellectual sophistication, Bribes de Corps stands proud in the canon of revolutionary feminist art.
–Helen Khal
Charming the art world with her distinctive avant-garde style and outspoken character, Huguette Caland is arguably the most influential Lebanese contemporary feminist artist. Born in 1931 in Beirut as the only daughter of the first President of the Republic of Lebanon Bechara El Khoury, Caland gained fame for her pioneering, bold and overtly sensual series of Bribes de Corps. Inspired by her own body and femininity, these large, exuberant, semi-abstract paintings challenged the patriarchal society that dominated Lebanon in the 1960s and 1970s. This outstanding example from the series captures Caland’s mastery of both form and colour. The curved geography of the body extends beyond the canvas borders, merging with a vivid expanse of yellow that leaves us in front of what seems like a landscape. Upon closer inspection however, the simple curved line evokes the sensual contour of the female breast, captivating in its open yet subtle sexuality. Celebrating femininity at its most exultant, Caland sought inspiration from the leading western female artists of her time, such as Georgia O’Keefe and Niki de Saint Phalle, who also explored suggestive natural forms and bright colour palettes. Radiating charisma, luminosity and intellectual sophistication, Bribes de Corps stands proud in the canon of revolutionary feminist art.