Adham Ismaʿil’s Arabesque: The Making of Radical Arab Painting in Syria

In: Muqarnas Online
Anneka Lenssen History of Art Department, University of California, Berkeley

Search for other papers by Anneka Lenssen in
Current site
Google Scholar
Download Citation Get Permissions

Access options

Get access to the full article by using one of the access options below.

Institutional Login

Log in with Open Athens, Shibboleth, or your institutional credentials

Login via Institution


Buy instant access (PDF download and unlimited online access):


The essay explores how the Syrian artist Adham Ismaʿil (1922­–63) linked his modernist painting strategies to the activism of the Baʿth political movement during Syria’s independence decade through a conceptual reworking of the “arabesque”—the rhythmic pattern of unending line and pure color that Orientalist scholars considered a product of the Arab and Muslim episteme and French modernist painters adopted as a fresh compositional device. It draws on a new archive of correspondence, writings, and sketches, supplemented by political memoirs detailing Ismaʿil’s experience of displacement after the 1939 transfer of his native Alexandretta to Turkey, to uncover his efforts to forge new aesthetic unities as a mechanism for Arab activation and rebirth. Ismaʿil and his comrades accorded a radical charge to the concept of vital Arab energy in particular; once manifested in the sensory experience of line and color, it promised to assemble audiences in new collectivities and to help topple the Syrian status quo. The essay thus analyzes Ismaʿil’s radical Arab painting as evidence of not only the complexity of the intellectual debates in the Middle East but also the generative fragmentation of modernist tenets under the (not quite) postwar, postcolonial world order. 

Content Metrics

All Time Past Year Past 30 Days
Abstract Views 895 74 18
Full Text Views 96 8 1
PDF Views & Downloads 86 21 3