Elie Kanaan (Lebanese, b. 1926 - d. 2009) is regarded as a significant presence in Lebanese modern art. His lyrical oeuvre walks the line between abstraction and figuration, delicately wielding colour into expressive, gestural brushstrokes. He gained national and international acclaim for his recognizable style, notably from American artist and critic Helen Khal, who likened his technique to the sensual rhythm and texture of Arabic poetry.

A self-taught prodigy, Kanaan won the first prize in Lebanon’s “Salon du Printemps” in 1957. In the following year, he won the UNESCO award which facilitated his formal study at the Académie de la Grande Chaumière in Paris and allowed him to refine his distinctive style. During this period, he connected with artists like Yves Alix and Jacques Villon, who introduced him to critics like Waldemar Georges and Maximilien Gautier who lauded his work. Following his time in France, he had an exploratory period in Italy before returning to his native Lebanon, where he began exhibiting. A testament to his growing international success, he received the Prix Vendome in 1967. From 1962 onwards, he participated in many exhibitions in Paris, New York, São Paulo, Belgrade, Moscow and Alexandria.

From the late 1960s to early 2000s, Kanaan’s work took on an enigmatic quality, likely influenced by the onset of the Lebanese Civil War. Ultimately, he broke free from his traditional French training and embraced his distinctive style. In the words of French poet Alain Bosquet: “Elie Kanaan’s brush stroke begins with the nebulous and heads towards the definite: it is in this thrilling suspense where everything remains suggested, possible, and unrealized. The artist shares with us this intermediate state where every colour and every shape is rich in its creative significance.”