Bekaa Valley Peasants Complete 300 Plates

NEW WORLD LEADERS
Drawings
Lebanese Bekaa
Valley Peasants
More than 300 plates
PUBLISHED IN GREAT BRITAIN
Drawings
Lebanese Bekaa
Valley Peasants
More than 300 plates
Published in Great Britain
Author of:
PROBLEMS OF MODERN ART, 1968

SPELLING THE THOUGHT, first edition 1994, second edition 2003
MONEY AND INFLATION ORIGINAL TREATISE, first edition 2001
WEALTH OF THE PEOPLE, first edition 2006
ECONOMIC CRISIS SOLUTION, first edition 2009
Table of Contents
Acknowledgements..................................................................................... i
Lebanese Bekaa Valley Peasants ............................................................1
BEKAA VALLEY OF LEBANON SOURCE OF INSPIRATION ..................................... 1
BROAD THEME REQUIRED IN FACE OF TRIVIALITY .............................................. 3
ARE THESE DRAWINGS JUST ABOUT RECORDING PEASANT LIFE?................... 5
ASCENT OF DRAWING FROM SKETCH TO INDEPENDENT ART ........................... 7
LACK OF CLARITY IN PERCEIVING THE CONCEPT DRAWING ........................... 10
ART IS THE LAST RESORT IF MORAL LAWS COLLAPSE ....................................... 12
Biography ...................................................................................................15
Chronology of Accomplishments ....................................................................................... 16
Plates ...........................................................................................................17
Tribute to beloved people ......................................................................19
Bekaa Peasants in Classical Style........................................................79
Scenes from daily life in the field .......................................................123
Geometrical abstractions with figurative groups ..............................153
Fury and protest..................................................................................165
Landscapes from Bekaa and other Lebanese Areas ..........................179
First published in Great Britain in 2011
Copyright 2011 by F. KACH

Printed in Great Britain
Email: falkach@yahoo.com
Acknowledgements
This book was made possible with the encouragement of my family and
many friends who, like me, believed that this form of art should be
introduced to a wider public. Many thanks to all of them.
My special gratitude goes to my son Melhem who made this wish come
true by designing and implementing the layout of the book. I am also
thankful to my daughter Reda Khoueiri for editing the book.
Lebanese Bekaa Valley Peasants

BEKAA VALLEY OF LEBANON SOURCE OF INSPIRATION
This book is meant to introduce a selection of the many drawings I
produced over the years of the peasants of the Bekaa Valley, especially the
drawings I produced before I was compelled to leave my country Lebanon
in 1983.
Several motives are behind the decision to publish this book.
It is
primarily meant to pay tribute to this category of people in general, that

constitutes the foundation of a healthy society, and to satisfy the interest
of those who love this art because it reminds them of their ancestry and
their noble roots, and affirms their relationship with the land they lived,
or still live on. It also aims to encourage new generations of intellectuals,
especially young artists, to scoop up from this rich source of inspiration
important virtues essential for art. At the same time, this book provides
an opportunity to draw some useful conclusions in an attempt to
contribute to the improvement of art of drawing in general, and for some
countries, where this art is still in a developing stage, to try to promote
and protect it.
Bekaa Valley of Lebanon is a fertile arable land about 120 Km in length

and 16 Km in average width, once considered by the Roman Empire to be
a huge reservoir of grain. It constitutes about 20% of the total area of
Lebanon and is very valuable because it is able to provide it with economic
security, particularly in difficult times, and therefore contributes a great
deal to the viability and stability of the country. In addition to its agrarian
1
importance, Bekaa is a large source of good men and women who play an
important role in different sectors of the country, and the direct cause of
the genesis of the city of Zahle, capital of Bekaa, as well as the city of
Baalbek and many other towns and villages.
emphasize
importance
of
the
this
valley to explain why I

dedicated a big part of
my artistic activity to it
and to the people who
live on it. After all, this
is the place where I was
born
and
spent
my
The artist on the roof of his paternal house in Houch
youth and I have a
Al-Omara Zahle in the middle of the Bekaa. Picture
natural attachment to
taken after an absence of about three decades
it, this is also where my parents and ancestors lived and played an
immaculate role inside the local agrarian community for a long period of
time. I was lucky to be born in that environment because this opportunity
had a marking impact on my intellectual activity and I treasured it all my
life.
Like all peasants of the world, Bekaa Valley peasants are peaceful and
loving as their generous land spares them from any intent for aggression.
Their work, associated with giving, is full of joy and excitement; their
mind reflects the beauty of the universe because they are always absorbed
by what the seasons bring them: the clear or cloudy sky, the rain, the
gentle breeze, the furious storm, the infinity of colored things; they are
busy with the perpetual miraculous growth of their plantations and their
precious harvest. This intimate association with the elements of nature
gives them an incomparable spiritual feature. I remember fondly the
energy and love that men and women alike put into their work, their
optimism, their skill at working together as a group, and I remember their
singing, dancing and love of jokesThis is, without doubt, a healthy
society worth to look carefully into and learn from.
BROAD THEME REQUIRED IN FACE OF TRIVIALITY
The western modern art nowadays breaks many basic rules and conditions
that art normally stipulates.
It is obviously facing a serious problem
concerning the theme or the subject, whereas the world is packed with big
events
and
social
Sheikh Melhem Al-Kach
dramatic
father of the artist and
transformations that
elder grandson of sheikh

Hanna who were both a
could
serve
inspiration.
as
source of inspiration for
This
the artist
disparity between an
astonishing
reality
and an art that is

superficial
and
insignificant in its theme, is the result of commercial motivation, and the

resulting triviality is spreading everywhere due to the expansion of the art
market. Those who exploit art commercially are determined to minimize
and sometimes ridicule the subject on which a painting is based, whilst
the subject is the fundamental justification of any painting and any work
of art, because without an interesting subject there will be no message and
therefore the spectator will be confused and lost. Art dealers are able to
3
disregard esthetic principles and replace them with judgments based

purely on demagogy in order to have a free hand in manipulating the
market.
To sum it up I say: excellence is no longer measured by long established

criteria; instead the judgment is nowadays dependant on the people who
control the market and impose on the buyer their own value system when
it comes to the evaluation of a work of art.
On the other hand there are no more avenues for the artists survival
other than the art market. While in the past commissions ordered by
wealthy privates, or governments or big institutions were the principal
source of living for the artists, all those promoters are now polarized by
the same market and are forced to abandon any initiative that could help,
and to obey instead what the market dictates.
I took notice early on of this unpleasant situation and found myself left
with a serious question: if I refuse the ideas in vogue imposed by the
market, what would the alternative be? fortunately because I was already
attracted by the subject of peasant life with all the variety and details so
familiar to me, it did not take me too long to make up my mind and
impatiently started selecting from that abundant source of inspiration the
many situations we find in peasant life. Surprisingly, even my early
works were kindly received by both the public and the media, if not
because of my excellence, more so because of my attitude and my courage
since the public himself was fed up with what was offered to him. Here I
quote Victor Hakim a senior art critic who reflects the opinion of the
media, in his comment about this work, he said: No other artist before
Fawzi Al-Kach had thought to praise the wise agrarian of the Haut
Plateau of the Bekaa, our national granary. The Plateau is represented in
its social and spiritual reality with a style that reflects the vivid reality
Victor Hakim (La Revue du Liban). (The text in french : Aucun peintre
avant Fawzi Al-Kach navait songe a chanter la sage agraire du Haut
plateau de la Bekaa, notre grenier national. Le plateau est reprsent
dans sa ralit sociale et spirituelle en un style refltant la ralit
vivante).
Today I feel truly happy and lucky to have produced a good number of
these scenes with genuine content, and I feel humbled by the good
reception of my compatriots to what I have done at that time.
A number of lessons can be learned from this experience, among them,

that it is possible to defy the state of immobility of the subject that
endangered art by rendering it insignificant and inefficient, and to
mobilize the public so that he can give his help in order to create a healthy
normal art originating from the real source of all intellectual activities
which is the vivid real life whatever it might be and not necessarily
agrarian life only.
ARE THESE DRAWINGS JUST ABOUT RECORDING PEASANT LIFE?
My intention from these drawings was to show the attitude of those
peasants in facing the reality with the modest means they possess; if they
accept the challenge or they capitulate or revolt against what is after all
an opportunity to survive in spite of the difficulties this kind of life
imposes on them. I testify that those peasants are driven by courage and
optimism and are attached to their land in spite of the obstacles they have
5
to overcome; in fact they always run short of water to irrigate their

plantation, they always face the problem of marketing their product, they
never feel protected by the government in case of a disaster or any
difficulty, they are systematically short of capital and they borrow at
phenomenal interest rates that make their business an absurd activity.
But still they have lived on this land for a long time and it was
consistently flourishing and productive with their perseverance and
attachment to it.
My mission as an artist was to show this attitude in a convincing direct

way as usually happens in other forms of art such as good theatre or
novels. Therefore every line should be an esthetic support to the idea in
question and should reflect the spirit of the subject it is expressing. Also
the chosen themes and symbols should be indicative and convincing in
conveying the message to the viewer: a proud horseman on his trotting
horse expresses his delight, a mother suckling her baby expresses her joy
at nurturing her newborn, an old man leaning on a sack to rest relays his
gratification for this moment of peace All those individuals testify to
their contentment in that world where they are sovereign.
It is a
confident handshake with nature showing satisfaction in spite of lifes

pressure.
Another theme addressed in many scenes testifies to the acceptance of the

other inside that society in order to form a healthy homogenous group. It
depicts the way those peasants cooperate, the way they help each other,
the way they respond to each others attitude and actionsA girl offering
water to a thirsty old man, an exhausted women helped by her friends, a
woman offering some sweets to a guest, a group having a casual
breakfast These perpetual scenes of entente and affinity are eloquent

statements about the possibility of a happy social life.
Similarly portrayed is the peasants reaction to unexpected harm; they

express their anger and pain in a spontaneous innocent way. My drawings
show in a precise sincere manner their feeling in such situations in the
form of a loud cry symbolizing a big protest. Those peasants experience the
moments of disequilibrium with a totally unwelcoming statement and
with no place for compromise. After reviewing other statements, theirs
seems to be the most efficient and the most convincing.
I draw every scene several times hoping to find the best possible
expression by slightly changing the angle of view or the gesture of the
individuals to make these extremely beautiful scenes look their best. This
is one way to explain what I mean by saying below that drawing can also
be an independent art with special finality.
These statements given by peasants about the possibility of a happy social

life based on genuine freedom and natural collaboration belies what is
happening inside certain cruel systems nowadays based on inequality,
oppression and demagogy, as if this is the only option humanity has. And
it is important to find out why we relinquished the grace of that beautiful
social life we once acquired, and what we can do to regain that precious
achievement.
ASCENT OF DRAWING FROM SKETCH TO INDEPENDENT ART
These drawings were first meant to be a normal preparatory work for my
paintings like every artist does as he explores new ideas or when he wants
7
to remember places or faces or gestures etc. Drawing in this fashion was

and still is of a big importance for artists in general. But at a certain stage
in my career I found myself concentrating unconsciously on drawing as a
separate activity and as an independent art with different esthetic and
A crowd of visitors at an art exhibition by Al-Kach about "Bekaa Valley Peasants"

hosted by the Cultural Centre of Germany attached to the German Embassy in Beirut
in 1974
different
artistic
motivation and in parallel

with my colored work that
has its own characteristics
and flavor. That was not a
kind of dualism, nor a sign
of uncertainty about the
right path to follow, since I
consistently
produced
paintings with different motivation and different feeling.
In reality this kind of drawing was a new window to look across at things.
It was an art satisfied by itself and taking the full responsibility to please
8
and send a clear artistic message. I found this approach very useful for
artists for many reasons. It gives the artist another means to express his
feelings, and in some situations it may prove to be the right tool for it.
For Chinese and other far Eastern artists, drawing as a special means of
art was always an artistic tool to express historic events or details about
intimate daily life or to show the beauty of nature with all its variety, as
they excelled in drawing animals real and mythological, and they often
reached a high level of expertise in that art.
In contrast, European artists who reached in the art of painting the

highest degree of mastery, always unknowingly denied to drawing, to be
another artistic option that can be used independently in order to fully
satisfy an artistic ambition, or they unintentionally overlooked it and
missed the opportunity to excel in it. They generally used drawing for
preliminary work needed to help secure that mastery in painting. In fact
they used it to prepare for large paintings through sketches and studies to
avoid any regrettable mistakes, and many times to capture the general
idea of a large composition or as an aide memoire etc. Through these
functions of art of drawing, artists have left us many exquisite sketches
like the ones by Leonardo De Vinci, Michelangelo, Raphael, Rubens,
Durer, and especially Rembrandt in his etchings as well as many others
such as Delacroix and Renoir. But very little was produced as independent
artistic work with a distinguished style that became famous by itself and
rose to an equal level as the art of painting.
Thus rises under these circumstances this paradox between East and
West that is not easy to understand. It would be helpful to have an
intellectual rapprochement between the two sides concerning a very

popular activity such as art. It is a necessity to minimize the disparity and
create a common ground for working together in this important
intellectual subject.
LACK OF CLARITY IN PERCEIVING THE CONCEPT DRAWING
Maybe the reason behind the Western artists uncertain attitude towards
the concept drawing is that they never developed a clear and firm
perception
Land and Men
of
Indeed
name of a book by art
it.
after
critic Hani Abi-Saleh
following Peruginos
about a collection of
way
by
and
affirming
paintings from Bekaa

valley by Al-Kach
linier
published in 1974
respecting
the
discipline
established by some
predecessors,
Raphael
surpassed
this limitation and started interfering in tones inside the painted area.
Later Ingres accused Delacroix of messing with drawing because he
doesnt respect the lines in his paintings, the principle we just mentioned.
But if we look carefully, lines must be virtual rather than real, the same
way Vermeer perceived it, for this reason this traditional argument in its
physical pictorial meaning about lines seams to be incorrect and ill
founded.
This disagreement became clearer when impressionists abandoned totally

visual lines claiming that in nature we dont see lines. Still Renoir had a
more careful outlook than the rest of the group although he was for many
10
the leader of impressionists.
Even Monet, who was subject to many
criticisms because sometimes he went too far in abandoning drawing in

his painting, was not consistent in his attitude.
Truthfully this discussion was ill founded by both parties: those who insist
on lines and others who ignored them, since drawing is not about the lines
as such but about whether the object is well represented with the help of
these lines which cannot be a separate concept from the object itself.
This means object and drawing are two expressions of one single reality
which is objective figural representation. With this intrinsic tie between
the two concepts, drawing becomes a general reality that includes
monochrome and polychrome works and both should be called drawing in
technical and philosophical terms.
I imagine that if this perception had been the old master perception, the
state of art would have been totally different and art would have been
protected from excessive disoriented freedom as a result of the uncertainty
in understanding the concept drawing.
However the short experience of the Europeans in using drawing, and

their quick transition to painting could be the reason behind the missed
opportunity to use drawing as an independent medium of art and, before
that, the reason behind the uncertainty about the reality of drawing which
led art to the state of chaos that it is in today. This is exactly the opposite
of what happened to the Chinese who by relying on drawing as an art
since the 4th century AD after an early long experience, took their time to
excel in this field, and it became difficult for them to cope with the art of
11
painting in the advanced European way even after they were introduced to
it in the 18th century during Emperor Chien-lung reign.
ART IS THE LAST RESORT IF MORAL LAWS COLLAPSE
There is no doubt that love of beauty is a deep elementary tendency in the
human being and it is meant to support survival tendency to make it
Enthusiastic crowd at the
opening of one of the
exhibitions by Al-Kach at
GAB Centre in Beirut in
1980
significant and relevant. In fact by loving beautiful things that attract us

we become more attached to this world and interested to enjoy living. This
is a universal principle that is at the base of our existence as human
beings.
Consequently, the will to create beautiful things or to fight ugliness also

serves our attachment to life. There is no doubt that the battle for beauty
is a battle for survival.
Thus, when we see that many achievements accomplished over the

centuries by great leaders and generations of militants for the benefit of
humanity to safeguard our kind, have been degraded and abused, we
12
realize that there is a lot of work required from good artists in order to
give back some luster to noble ideas with beauty as guideline.
final
artists
small
message
for
belonging
to
countries
that
their role is a unique

one, given the critical
time
their
nations
might be experiencing.
We
all
realize
unfortunately, that the

endurance
countries
of
all
nowadays
The artist prepares for his 1991 exhibition at the

Municipal Library in Bath, U.K.
relies solely on their personal power after the decline of international

institutions originally created to insure worldwide security with the help
of international laws. The independence and sovereignty of small
countries are especially threatened and, in fact, there is rarely one in this
category that is not suffering from this predicament. Of course this
problem is universal and tough to solve, but it urgently requires a solution
at the highest level even if such solution is currently non existent.
Still, artists in these small countries could make a difference by producing

a kind of art that gains the respect of the world to the point that they may
form with their art an intellectual umbrella to the country where they
belong.
F. Al- Kach
13
14
Biography
Fawzi Al-Kach was born in Zahle, Lebanon in 1933. He grew up as the
oldest of 6 siblings in a well respected family of land owners going back
several generations. In his early years he was surrounded by a simple
farming community steeped in the traditional values of self reliance and
hard work. This humbling upbringing left an impression on Fawzi that
would influence his art and writings for years to come.
Driven by a strong love for literature, language and the intellectual

curiosity and expression that can be derived from them, Fawzi pursued a
career as a professor of Arabic language, literature and philosophy at the
prestigious International Schools of Choueifat University Preparatory.
This career of more than 3 decades was accompanied by a personal pursuit
in the areas of art and literature.
Over the years, Fawzi produced a steady flow of art exhibitions and books.
In his art whether in oil, water color or ink, he always maintained a strong
connection to people and earth. Fawzi extended the impressionistic style
into his own form of artistic expression by using a bold and daring
approach to color and movement.
As a writer, Fawzi covered a wide spectrum of subjects, including poetry,

art critique, political commentary and socio-economic analysis. In all
areas, Fawzi dared to challenge conventional thought and pre-established
opinion by re-examining all the underlying accepted premises. This is
proving particularly useful in the new global environment we live in.
15
Chronology of Accomplishments
1968 - Published book "The Problems of Modern Art"
1968 - Recipient of Said Akl Prize for the book "The Problems of Modern
Art"
1969 - Art exhibition at Carlton Hotel
1970 - Elected Vice President of the Lebanese Association of Artists
1971 - Wrote "Mice and Men of Society"
1971 - Art exhibition at Hotel Carlton "Paintings & Sketches"
1973 - Art exhibition in Zahle by civic sponsorship
1974 - Art exhibition "Men & Earth" at Goethe Institute The German
Cultural Center in Beirut
1974 - Subject of the book "Men & Earth" by art critic Abi Saleh
1978 - Art exhibition at Gab Center "Equality and Inequality"
1979 - Wrote The Arabic Alphabet for Spelling the Thought
1980 - Art exhibition at Gab Center
1980 - Art exhibition at Zahle sponsored by The Youth Center
1982 - Art exhibition at Gab Center
1991 - Art exhibition at the Municipal Library in Bath, England
1994 - Published "Spelling the Thought"
2001 - Published "Money & Inflation"
2006 - Published "Wealth of the People and Beyond"
2009 - Published "Economic Crisis Solution & Global Industrial
Revolution"
16
Plates
1. Tribute to beloved people

2. Bekaa Peasants in classical style
3. Scenes from daily life in the field
4. Geometrical abstractions with figurative groups
5. Fury and protest
6. Landscapes from Bekaa and other Lebanese areas
17
18
Tribute to beloved people
Self portrait
19
A bending woman
20
Young peasant eating
21
Two women having a meal
22
A woman carrying a jar with a child
23
Peasant leaning on a bag
24
A young boy holding a jar
25
Resting woman
26
A peasant holding her child
27
Woman leaning on a bag
28
Peasant entertaining a guest
29
A young boy running to his mother
30
A boy picking food from a tray
31
Women carrying a tray of food
32
Peasant in the field carrying a parcel, a horse in the background
33
Mother and child
34
Woman holding a plate
35
Conversation under a tree
36
Conversation, a woman leaning on a tree
37
Peasant dredging the earth with a fork
38
Two riders on a horse
39
Women praying to God
40
Peasant at work
41
Walking peasant and a rider heading to the village
42
Conversation, a woman with a plate
43
A man with a shovel, a woman holding a plate
44
Young man drinking water, a woman filling a bag
45
A woman leaning on a bag, another picking fruit
46
A peasant holding a tray of fruit
47
Feet of walking woman
48
A boy leaning on his hand
49
A peasant carrying a jar
50
Two women filling a bag
51
A man leaning on his hand, a woman filling her jar from the fountain and other
52
A woman carrying a parcel and a house on the horizon
53
A woman walking beside her donkey
54
Resting woman in the shade of a tree and a cavalier
55
A walking peasant, a cavalier
56
A house wife and a guest
57
A woman carrying some vegetable in a tied sack on her waist
58
Peasant with donkey
59
Peasant filling a bag
60
A woman with a parcel on her head and a child
61
Woman opening a bag
62
Peasant carrying a jar walking behind her donkey
63
Prayer of a young woman
64
A woman carrying a plate
65
Woman offering some food to a guest
66
Woman filling a bag of vegetable
67
Mother suckling a baby
68
Peasant with a plate
69
Farmer carrying a sack followed by a woman
70
Peasant and her donkey carrying a bag
71
A farmer strewing seeds
72
Mother walking with child
73
Worker napping on sack
74
Mother nursing child
75
Workers resting
76
Mother and child
77
78
Bekaa Peasants in Classical Style
Mother and Child
79
A worker on his way to the field
80
A peasant leaning on a sack
A worker steering his animal
81
Woman carrying a jar on her head
82
Figure representing Lebanese people asking for an end to the conflict. (This subject was
repeated four times with slight differences)
83
A house wife grinding grain with a hand mill
A woman reading
84
Figure representing Lebanese people asking for an end to the conflict. (This subject was
repeated four times with slight differences)
85
A worker filling a bag
86
A young woman offering water to a young man
Packer and his mule
87
A boy carrying a food parcel
Young peasant carrying a bag
88
Two peasants having a casual meal, familiar scene
Workers doing various activities
89
A woman carrying a jar on her head
90
Peasant carrying a parcel of food and a stick
91
Figure representing Lebanese people asking for an end to the conflict. (This subject
was repeated four times with slight differences)
92
A woman carrying a large vessel and a basket
A child resting in his mothers arms
93
Composition of a group of horses
Scene of horses
94
A woman carrying a jar and a parcel of food
95
Seated peasant
96
A sad woman
A horse
drinking
from a
rivulet
97
Studies of horses
A woman pulling her donkey
98
Young woman offering coffee
99
Stumbling horse
Old woman kneading dough
100
A packer and a mule

Woman and child on a horse
A tumbling horse and horseman
101
Studies of landscapes and seated women
Different scenes of mother and child
102
Two young men wrestling in the traditional friendly way
103
Three couples performing folk dancing
Tired woman leaning on a bag
104
Ashwick Hall, a school in England belonging to SABIS where the artist stayed for 18
years from 1983 to 2001
105
Broken jar and other studies of mother and child
The animal as vehicle of transportation, different scenes
106
English young woman having a hot drink
107
A study of a woman filling a bag and a man on his horse
Different scenes from daily life in the field
108
Figure representing Lebanese people asking for an end to the conflict. (This
subject was repeated four times with slight differences)
109
Young woman entertaining a guest
110
Return from the field
Different scenes of traveling
111
A man clapping to stir up a dancer
112
The stick to lean on, to hit, to cook, to warm
A tiller behind oxen
113
A woman in a traditional dress
114
Falling water and two feet
115
Two women filling a large bag
116
Old man leaning on his stick
117
Study of two women doing some routine work and a fallen sack of potato on the ground
118
A dancer and a man beating a drum
Three dancers and a man playing the flute
119
Enthusiastic dancing couple
120
A man lifting a heavy parcel and a donkey
121
A woman dancing to flute music
122
Scenes from daily life in the field
Three horses in a field
123
A traveler passing by a woman working in the field

Two women eating, others working
Bag and jar, a cavalier riding his horse
124
A quick chat between two peasants going in opposite directions

A man talking to a woman another working on the other side of the road
125
A worker dredging the earth with a fork, a woman manipulating a sack

A worker a woman some birds over a tree
A farmer strewing seeds
126
A tiller slitting the earth and a woman planting

A woman pouring out the water to another woman
Peasant carrying a jar across the field, a horse in the other side of the road
127
128
A packer behind a mule carrying a travelling bag

A man and a woman carrying sacks
129
A worker behind his oxen and a peasant

A worker tilling the earth followed by a peasant throwing seeds
130
Two peasants in their way to the work

Cavalier on his horse accompanying a peasant
A woman offering water to another laying in the shade of a tree
131
Peasants in their way to work

Two sacks in a landscape
132
Workers picking the grapes

A packer laying a bag on the back of his donkey
Conversation about the weather
133
A woman eating, a house in perspective

A woman eating
Peasant picking straw
134
Two peasants eating, another in the field

A peasant carrying a sac, a woman in the middle of the field
Sacks and a jar in the front of a landscape
135
One peasant holding a shovel another riding a horse

A woman carrying a parcel and a traveler on his horse
Two peasants one holding a bag another rushing toward two grazing animals
136
A worker and a peasant throwing the cedes

A scene of working peasants with a house on the horizon
137
A farmer and a woman behind him

Woman and child, a traveler on his horse
138
Group of workers picking corn

One woman picking an ear of corn
139
Peasants picking vegetables

A woman filling her jar from a fountain
140
Workers in the field and a carriage

A group of workers and a carriage in the depth
Two workers dredging the earth and a carriage
141
A scene including a number of peasants doing different works

A woman leaning on a bag another on her donkey a third one inside the plantation
Two workers, a carriage and a village in the horizon
142
Four scenes of people performing familiar activities
143
Four figures in different situations
144
A sleeping woman another one eating, a man going to work and another dredging the field
145
Two woman filling a bag and others doing different activities
146
A cavalier riding his horse a mother cuddling her baby
147
A peasant destroying parasite herbs, two other chatting a third one holding her baby and a
reclining one
148
Theatre and players Plate 1
149
150
151
152
Geometrical abstractions with figurative groups
A woman riddling another filling a vessel
153
Peasant pulling a bag
154
A worker smashing stones
155
Group of peasants heading to the field
156
Peasants filling a bag
157
158
Peasant steering a donkey
159
A woman pulling a bag, a home in the background
160
Two peasants and an animal
161
Group of peasants eating
162
A man and a woman on a donkey
163
A woman holding a bunch of straw
164
Fury and protest
A terrified woman with a burning home
165
Mother and child
166
A woman displaying the body of her young child
167
A man showing his dismay, one person on the floor
168
A person walking in the tempest
169
A terrified woman
170
A young boy covering his face of fear
171
A youngster expressing dismay
172
Help and consolation
173
A man running with injured child
174
Group of cavaliers
175
A mother grieving over her child
176
Group of cavaliers
177
Exhausted woman filling a bag
178
Landscapes from Bekaa and other Lebanese

Areas
179
180
181
182
183
10
184
11
12
185
13
186
14
15
187
16
17
188
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216
Al-Kach
Drawings
Bekaa Valley Peasants

Bekaa Valley Peasants Complete 300 Plates

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More than 300 plates

PUBLISHED IN GREAT BRITAIN

Published in Great Britain

PROBLEMS OF MODERN ART, 1968

First published in Great Britain in 2011

Copyright 2011 by F. KACH

Lebanese Bekaa Valley Peasants

Lebanese Bekaa Valley Peasants

Several motives are behind the decision to publish this book.

primarily meant to pay tribute to this category of people in general, that

Bekaa Valley of Lebanon is a fertile arable land about 120 Km in length

Lebanese Bekaa Valley Peasants

valley to explain why I

The artist on the roof of his paternal house in Houch

youth and I have a

Al-Omara Zahle in the middle of the Bekaa. Picture

taken after an absence of about three decades

Lebanese Bekaa Valley Peasants

It is obviously facing a serious problem

Sheikh Melhem Al-Kach

father of the artist and

elder grandson of sheikh

source of inspiration for

and an art that is

insignificant in its theme, is the result of commercial motivation, and the

Lebanese Bekaa Valley Peasants

disregard esthetic principles and replace them with judgments based

To sum it up I say: excellence is no longer measured by long established

Lebanese Bekaa Valley Peasants

A number of lessons can be learned from this experience, among them,

Lebanese Bekaa Valley Peasants

to overcome; in fact they always run short of water to irrigate their

My mission as an artist was to show this attitude in a convincing direct

confident handshake with nature showing satisfaction in spite of lifes

Another theme addressed in many scenes testifies to the acceptance of the

Lebanese Bekaa Valley Peasants

breakfast These perpetual scenes of entente and affinity are eloquent

Similarly portrayed is the peasants reaction to unexpected harm; they

These statements given by peasants about the possibility of a happy social

Lebanese Bekaa Valley Peasants

to remember places or faces or gestures etc. Drawing in this fashion was

A crowd of visitors at an art exhibition by Al-Kach about "Bekaa Valley Peasants"

motivation and in parallel

paintings with different motivation and different feeling.

Lebanese Bekaa Valley Peasants

In contrast, European artists who reached in the art of painting the

Lebanese Bekaa Valley Peasants

intellectual rapprochement between the two sides concerning a very

name of a book by art

critic Hani Abi-Saleh

paintings from Bekaa

This disagreement became clearer when impressionists abandoned totally

Lebanese Bekaa Valley Peasants

the leader of impressionists.

Even Monet, who was subject to many

criticisms because sometimes he went too far in abandoning drawing in

However the short experience of the Europeans in using drawing, and

Lebanese Bekaa Valley Peasants

significant and relevant. In fact by loving beautiful things that attract us

Consequently, the will to create beautiful things or to fight ugliness also

Thus, when we see that many achievements accomplished over the

Lebanese Bekaa Valley Peasants

their role is a unique