Jilali Gharbaoui (Arabic: الجيلالي الغرباوي; 1930–1971) was a Moroccan painter and sculptor from Jorf El Melha.[1] He is considered, along with Ahmed Cherkaoui, a pioneer of modernist art in Morocco.[1] Unlike other Moroccan modernist artists, his abstraction was based in brushstrokes and the "materiality of the paint" as opposed to Moroccan culture.[2] Gharbaoui suffered from severe mental illness and died of suicide in Paris in 1971.[1]
Life
He started studying art at the <i>Academie des Arts</i> in Fes.[2] He traveled to France in 1952.[3] With the assistance of the novelist Ahmed Sefrioui, then director of fine arts in Rabat, Gharbaoui was able to attend the École des Beaux-Arts in Paris.[2] He studied for four years then worked at the Académie Julian for a year.[3]
He befriended the poet and painter Henri Michaux, the painters Hans Hartung and Jean Dubuffet, and the art critic Pierre Restany.[4]
With a grant from the Italian government, he lived in Rome from 1958 to 1960, when he returned to Morocco.[3] In this period he frequently went to Paris for work, and in 1959, Pierre Restany introduced Gharbaoui at the Salon Comparaisons .[1][3]
He was hosted often by Abbot Denis Martin at the Benedictine monastery of Toumliline, where he created wall decorations.[1][3]
During his life, he exhibited around Morocco and in Egypt, France, the Netherlands, the United States, and Brazil.[5] His art appeared in the magazine Souffles-Anfas.[6]
He was found dead by suicide on a public bench in the Champ de Mars in Paris in 1971.[1][2] His body was repatriated and buried in Fes.[2]
In 1993, the Arab World Institute in Paris hosted a retrospective exhibition dedicated to him.[2]
Art
Before he embraced abstraction in the early 1950s, Gharbaoui experimented with French Impressionism and German Expressionism.[6]
According to Toni Maraini, "Gharbaoui’s work largely focuses on movement and nervous brush-strokes. With chromatic disorder and an automated vitality, he creates a neutral space and an active, expressive material."[6]
In Art in the Service of Colonialism, Hamid Irbouh describes Gharbaoui and Ahmed Cherkaoui as "bipictorialists" in contrast with the nativists of the Casablanca School.[7] Whereas the nativists, led by Farid Belkahia, sought to break entirely from French and Western art, the bipictorialists included Moroccan and Western influences, working toward a reconciliation of the various dimensions of postcolonial Moroccan identity.[7]
References
- ^ a b c d e f Powers, Jean Holiday (2016), "Gharbaoui, Jilali (1930–1971)", Routledge Encyclopedia of Modernism (1 ed.), London: Routledge, doi:10.4324/9781135000356-rem434-1, ISBN 978-1-135-00035-6, retrieved 2021-07-22
- ^ a b c d e f "Composition". Barjeel Art Foundation. 2017-08-24. Retrieved 2021-07-22.
- ^ a b c d e "Gharbaoui, Jilali". Benezit Dictionary of Artists. doi:10.1093/benz/9780199773787.article.b00073106. Retrieved 2021-07-23.
- ^ العرب, Al Arab (September 13, 2015). "الجيلالي الغرباوي الفنان الذي اخترع الحداثة الفنية في المغرب | فاروق يوسف". صحيفة العرب (in Arabic). Archived from the original on 2020-10-07. Retrieved 2021-07-27.
- ^ "Jilali Gharbaoui". www.encyclopedia.mathaf.org.qa. Retrieved 2021-07-22.
- ^ a b c "Souffles-Anfas Contributors, 1966–1971", Souffles-Anfas, Stanford University Press, pp. 267–274, 2020-12-31, ISBN 978-0-8047-9623-1, retrieved 2021-07-27
- ^ a b Irbouh, Hamid (2005). Art in the Service of Colonialism. I.B.Tauris. ISBN 978-1-85043-851-9.
This page was last edited on 2 March 2024, at 15:42