Highly acclaimed for his inventive approaches in painting, Paul Guiragossian captivates viewers with his bold layers and strong use of texture and colour. Painted circa 1990, the present work is an impressive example of the artist’s use of thick, dynamic brushstrokes - a maturity in style that defines his later works. Incorporating abstract, elongated lines, there is an almost musical rhythm that offers an underlying sense of optimism.

From the late 1970s onwards Guiragossian would gradually liberate himself from the confines of the discernible human figure. His paintings would still subtly allude to the human form, but developed into a more minimal, expressionist style. Towards the mid-1980s and early 1990s, his palette expanded to colours intrinsic to a Mediterranean landscape of sea, lush verdant mountains and sun, seen in Masques et bergamasques by the use of alternating shades of blues and greens. The title suggests a jovial event, symbolising a sign of hope against the human misery particularly poignant at the time of the Civil War in Lebanon (1975-1990). This ambient and underlying sadness is reflected in the dark tones that dominate the painting, a recurrent symbol of sorrow that permeates the artist’s oeuvre.

On closer inspection, the abstract vertical bands of colour that appear to be close, never overlap and thus simultaneously conveys a sense of solitude and suffering. Within his work, Guiragossian manages to portray both joy and sadness, the juxtaposition of luminosity and density of colour against a deeper sense of angst, producing a visually arresting and multi-layered composition.

Post Lot Text

The Paul Guiragossian Foundation, Beirut, has kindly confirmed the authenticity of this work. We would like to thank the Paul Guiragossian Foundation for their assistance in researching this painting.