Samia Osseiran Junblatt cultivated a distinct visual language shaped by rigorous academic training and sustained intercultural experience. Educated at the Beirut College for Women, where she subsequently taught, she went on to complete a Master of Fine Arts at the Pius XII Institute in Florence, an encounter that instilled her practice with the measured clarity of Florentine humanism. A later scholarship from the Japanese Embassy in Lebanon enabled her to study graphic art at the University of Fine Arts in Tokyo, further refining her sense of composition and technical precision. The convergence of these educational contexts can be traced throughout her work, where structure and lyricism coexist in a finely balanced dialogue.

Emerging within the circle of Lebanese abstract painters of the 1960s, she maintained close exchanges with figures such as Helen Khal. Although public recognition arrived gradually, Osseiran developed an individual path that reconciled modernist abstraction with an introspective sensibility. In 1977 she founded the Society Artaizhana in South Lebanon, an initiative designed to foster women’s artistic engagement and collective visibility in a conservative cultural landscape.

Her pictorial language reveals an ongoing tension between the architectural and the emotional. Themes of grief, memory, and regeneration surface in cyclical series such as those exhibited at the Manoug Art Centre in 1972, prompted by the loss of her brother, and in later paintings from 2007 dedicated to her mother. These works demonstrate her ability to transform personal experience into formal and chromatic meditation. From the austere black-and-white ink drawings of the early period to the expressive tonal modulation of oils such as Oranges (1997) and Bengali Cook (2005), Osseiran’s practice articulates a nuanced exploration of surface, gesture, and luminosity.

Based in Bramiyeh, near Saida, she remained an independent figure within Lebanese modern art. Her oeuvre embodies a sustained negotiation between individual narrative and the universal vocabulary of abstraction, affirming both intellectual discipline and poetic restraint