Written by ELSIE LABBAN

Born in the mountainous village of Bsharri, Lebanon, in 1883, Gibran Khalil Gibran^[i]emerged as a multifaceted talent – an adept writer, philosopher, and a unique artist whose work reflected the passion and depth of his homeland^[ii]. From Lebanon's valleys to the bustling streets of Boston and New York, his journey tells a tale of a restless spirit driven by an insatiable thirst for knowledge and artistic expression.

Gibran's early experiences as an immigrant in the United States, consequently an outsider in a new culture, influenced his perspective and writing. His mother's decision to migrate in 1895^[iii]and settle in Boston's South End, a melting pot of immigrants, exposed him to Western culture while remaining deeply rooted in his Middle Eastern heritage.^[iv] Gibran's trilingual background played a crucial role in shaping the richness of his writings. Fluent in Arabic, English, and French, his ability to express himself in multiple languages added depth and complexity to his literary works. His writing talent was recognized at a young age when he published his first poem in an Arabic-language newspaper at the age of fifteen years old. This early success foreshadowed his future as a renowned poet.

The diversity and depth of Gibran's work were greatly influenced by his travels and the personal relationships he cultivated throughout his life. In Boston, Gibran caught the attention of Fred Holland Day, a notable photographer and publisher, who recognized Gibran's artistic prowess and influenced his initial creative journey.^[v]. Similarly, Gibran met Mary Haskell.^[vi] in Boston as well. Haskel was a school headmistress who would become one of his lifelong confidants and benefactors. Haskell's unwavering support, both emotionally and financially, was instrumental in Gibran's artistic and literary pursuits. Providing him with a monthly stipend to facilitate educational and publishing opportunities, Mary Haskle was a pivotal figure in his life. In one of the many letters Gibran had written, he describes Haskel saying, 

“…Mary Haskell ...a she-angel who is ushering me toward a splendid future and paving for me the path to intellectual and financial success.” Shortly after arriving, he wrote: “The day will come when I shall be able to say, ‘I became an artist through Mary Haskell.'”^vii

Having been financed by Haskell, Gibran moved to Paris in 1908, furthering his art studies at the Académie Julian.^viii This period in the French capital was transformative. Surrounded by the masters of European art, Gibran became well-versed in contemporary artistic trends, including symbolism and romanticism. He had even absorbed the spirit of the artistic bohemian life during his time in Paris. Yet, upon returning to New York in 1908, his connection to the East deepened. There, he met Hilanah Suwaydan, a fellow Lebanese, at the New York office of the Arabic newspaper “Al-Hūdah”. Over six years, the two forged a deep friendship, enriching Gibran's appreciation for his Middle Eastern roots. The ethos of his native Lebanese culture, combined with Western influences, found a harmonious balance in Gibran's art. This duality is evident in many of his works, where he seamlessly blends Western techniques or realism and portraiture with Eastern themes of spirituality, tradition, and social critique.^ix

Gibran sought to incorporate various artistic styles into his works. He drew inspiration from the Symbolist movement – a literary and artistic movement emphasizing subjective experience as a retaliation to empiricism – particularly from artists like Auguste Rodin and Gustav Klimt. Subsequently, Gibran began developing a distinctive style characterized by mysticism and romance.^x A keen observer, the artist’s works often captured the essence of his human subjects, imbuing them with emotion and depth. His fascination with the human form is evident in his charcoal drawing Evocation of Sultanta Tabet, 1908. Gibran uses flowing lines and notable shading to evoke emotion and tell a story. The drawing presents the upper torso of a woman, seemingly caught in a moment of contemplation. Her closed eyes heighten the sense of serenity. The positioning of her hands over her chest, touching each other, suggests introspection or perhaps an intimate connection to her heart or inner feelings. The flowing nature of her hair, as if caught in a gust of wind, adds a dynamic element, suggesting motion and the transient nature of the moment captured. Embodied in this artwork, the diverse influences that Gibran accumulated from his experiences allowed him to create a vast portfolio that transcended mere sketches. He mastered various mediums, including oil paints, pencil, ink, watercolor, and gouache ^xi. Gibran’s works were often brimming with emotion and as captivating as literary pieces.

One particular artwork part of the Ramzi Saeda Dalloul Art Foundation (DAF) collection that stands as a testament to Gibran's artistic evolution is the Portrait of Mrs. Alexander Morten², 1914. The painting portrays Marjory Morten, a prominent New Yorker social figure and wife of Alexander Morten, a gallerist and close friend of Gibran. When Gibran sought a female subject for his artwork, Alexander suggested his wife. This artistic collaboration blossomed into a more profound friendship, through which Marjory, a writer and artist of her own right, introduced Gibran to the Baha’i faithor Bahaism. Bahaism is a mystical religion that echoed Gibran's ideologies: universal love, tolerance, and spiritual freedom, profoundly influencing his subsequent art and literary work.

In Portrait of Mrs. Alexander Morten³, 1914, Gibran depicts a woman, waist-up, set against a rich brown background. This backdrop harmoniously melds with her brown attire, creating a seamless union between subject and setting. Her attire is adorned with a prominent gold brooch at the center of her chest, embedded with turquoise gems that perfectly contrast the overall earthy palette. Her face, slightly tilted to the left, is characterized by softly blushed cheeks. Short hair frames her face, accentuating her delicate features. Gibran employs sfumato – a technique of subtly blending colors, which are softly applied onto the canvas,  to avoid harsh transitions. The earthy tones meld seamlessly, eliminating stark lines and allowing for gentle shifts between light and shadow. This gives the artwork a dreamlike, ethereal aura. Combining these muted tones with Gibran's signature flowing lines bestows upon Mrs. Morten a mystical presence. There's an unmistakable mysticism in how her eyes are portrayed – a gentle yet profound gaze that encapsulates the emotional depth that Gibran is renowned for. The work is reminiscent of the symbolist influence in his earlier years, with a touch of Eastern aesthetic. ^xii

Despite his acclaim as an artist, Gibran's later years saw him lean more towards literature. However, his artistic background profoundly influenced his literary works, giving them a visual richness that few writers achieve.^xiii A combination of his vivid descriptions coupled with his evocative illustrations allowed readers to see and feel with their mind’s eye. Gibran was passionate about social and political issues and was actively involved in various political and intellectual circles. He advocated for social justice, anti-imperialism, and the rights of immigrants and oppressed peoples. His influence extended to the counterculture movement of the 1960s, where his writings gained popularity among young people seeking alternative perspectives on spirituality and philosophy. Having been inspired by the Baha'i faith, Gibran wrote the principles that most resonated with him, including unity, love, and a spiritual approach to life's challenges^xiv. The Prophet, undoubtedly one of his most revered works, exemplifies the confluence of art and literature. The prose-poems in this masterpiece offer profound insights into life, love, and politics, while his accompanying drawings, as seen in his collection Twenty Drawings^xv, echo his conception of beauty – marked by ethereal and surreal forms that evoke deep emotion and spiritual transcendence. Such harmonious interplay between his words and illustrations in "The Prophet" underlines Gibran’s unique ability to create a symphony of thought and vision, where art and literature coalesce seamlessly.^xvi

Gibran passed away in New York in 1931^xvii. However, his legacy as an artist lives on. Today, many of his artworks are housed in the Gibran Museum in Bsharri, serving as a testament to his enduring impact on the art world.^xviii In examining Gibran Khalil Gibran's life, one sees the journey of a man who seamlessly blended the wisdom of the East with the artistic innovations of the West. His works reflect this journey and continue to inspire and captivate audiences worldwide.

Edited by WAFA ROZ

Notes

^[1] Due to a mistake made by the Josiah Quincy School of Boston after he immigrated to the United States with his mother and siblings, he was registered as Kahlil Gibran, the spelling he used thenceforth in English. Other sources use Khalil Gibran, reflecting the typical English spelling of the forename Khalil, although Gibran continued to use his full birth name for publications in Arabic.

^[2] https://dafbeirut.org/en/gibra...

^[3] https://dafbeirut.org/en/gibra...

^[i] Gibran, Jean, and Kahlil Gibran. 1991 [1970]. Kahlil Gibran: His Life and World. New York: Interlink Books.

^[ii] Hawi, Khalil S. 1972. "Kahlil Gibran: His Background, Character, and Works."

^[iii] "Kahlil Gibran: His Life and World." Gibran Khalil Gibran Foundation. Accessed at www.gibrankhalilgibran.org

^[iv] Bushrui, Suheil B., and Joe Jenkins. 1998. "Kahlil Gibran: Man and Poet."

^[v] Waterfield, Robin. 1998. Prophet: The Life and Times of Kahlil Gibran. New York: St. Martin's Press.

^[vi] "Kahlil Gibran: His Life and World." Gibran Khalil Gibran Foundation. Accessed at www.gibrankhalilgibran.org

^[vii] Popova, Maria. “A Partnership Larger Than Marriage: The Stunning Love Letters of Kahlil Gibran and Mary Haskell." The Marginalia. Dec. 2017. www.themarginalian.org

^[viii] "Kahlil Gibran: His Life and World." Gibran Khalil Gibran Foundation. Accessed at www.gibrankhalilgibran.org

^[iv] "Biography of Gibran Khalil Gibran." Notre Dame University – Louaize. Accessed at www.ndu.edu.lb

^[x] Gibran, Jean, and Kahlil G. Gibran. 1974. "Kahlil Gibran: His Life and World."

^[xi] Waterfield, Robin. 1998. Prophet: The Life and Times of Kahlil Gibran. New York: St. Martin's Press.

[xii] Waterfield, Robin. 1998. Prophet: The Life and Times of Kahlil Gibran. New York: St. Martin's Press.

^[xiii] Waterfield, Robin. 1998. Prophet: The Life and Times of Kahlil Gibran. New York: St. Martin's Press.

^[xiv] “The Baha’i Faith and Kahlil Gibran.” n.d. Web.cecs.pdx.edu. Accessed September 16, 2023. http://web.cecs.pdx.edu

^[xv] "Twenty Drawings: Gibran's Conception of Beauty." Kahlil Gibran. Accessed at www.kahlilgibran.com

^[xvi] Gibran, Khalil. 1923. The Prophet.

^[xvii] Gibran National Committee. "About Gibran: Biography." Accessed August 21, 2023. www.gibrankhalilgibran.org

^[xviii] Gibran National Committee. "Museum." Accessed August 22, 2023. www.gibrankhalilgibran.org