Etel Adnan was a Lebanese-American painter, poet, and essayist whose practice navigated the intersections between image and language. Trained in philosophy at the Sorbonne in Paris and at the University of California, Berkeley, she developed a visual vocabulary grounded in abstraction yet informed by her multilingual and cross-cultural background. Her paintings, frequently produced on small canvases with a palette knife, translate colour into thought, treating chromatic harmony as a means of contemplation rather than representation.

Nature remained her enduring preoccupation. The recurring presence of Mount Tamalpais and the Mediterranean coast conveys not topographical fidelity but the emotional resonance of remembered places. Adnan’s engagement with Arabic calligraphy and her affinities with artists such as Paul Cézanne, Paul Klee, and Agnes Martin shaped an idiom where geometry and lyricism coalesce into meditative simplicity. Her leporellos—accordion-folded books painted with ink and pigment—extend this synthesis, transforming writing into spatial composition.

Her inclusion in Documenta 13 (2012) marked a decisive reappraisal of her pictorial work, leading to exhibitions at White Cube, London, and Galerie Lelong, Paris, as well as representation in major institutional collections, including Tate Britain, the Centre Pompidou, and the Museum of Modern Art, New York. In 2021, the Solomon R. Guggenheim Museum, New York, held a retrospective titled Etel Adnan: Light’s New Measure, consolidating her position within the narrative of post-war abstraction. Oscillating between Beirut, Paris, and California, Adnan articulated an art of concision and clarity, where colour becomes a language of reflection and distance.