Khalil Gibran – The Prophet, The Artist, The Man

Man in search of existence,
c. 1916 (Wash drawing)

Mention the name Khalil Gibran and most people are bound to think of ‘The Prophet,’ but what do we really know about this poet, artist and philosopher?

The best way to find out more is to visit the Mitchell Library at the State Library of New South Wales for the exhibition Khalil Gibran – The Prophet, The Artist, The Man. It’s been on since Saturday, 4 December last year, but you can still visit, as it will go on till Sunday, 20 February 2011.

The main feature of the exhibition is original artwork by Gibran, on loan from the Gibran Museum in Bsharri, northern Lebanon. It includes watercolours, portraits, charcoal sketches and photographs. There are also manuscripts and publications in Arabic and English, and a short audio-visual presentation, as well as some of his most famous publications and art prints for sale.

A life spent in America, Lebanon and France opened up different artistic spaces within Gibran. His youth was spent under the guidance and mentoring of Fred Holland Day, photographer and key figure in the Boston avant-garde movement called The Visionists. In the company of famous writers and artists, he was exposed to all the artistic and literary changes of the time. While studying in Lebanon, his country of birth, he experienced the wonders of Arabic and French literature and was made the college poet, a title he was immensely proud to hold.

Evocation of Sultana Tabet, 1908 (Charcoal)

Gibran’s first public exhibition opened in April 1904, where he met Mary Elizabeth Haskell, a wealthy headmistress who made the young artist one of her protégés. With that opened the next important chapter of his life, with Haskell funding Gibran’s trip to Paris. There, he re-discovered William Blake, moved among Syrian dissidents, and lost all inhibitions about the use of colour, while experimenting with oils, watercolours and pastels.

The works on display at the exhibition display the deep spirituality that was a key part of Gibran’s life and beliefs. He blended art and writing, with the art often created to compliment the writing. Portraits such as those of Charlotte Teller, Sultana Tabet, as well as ‘Two faces,’ ‘Eyes closed’ and 'L'autumne' evoke feelings of tranquility and uncomplicated beauty. The lines flow and curve smoothly and give gentle hints to what shaped their essences.

Comforting angel, c. 1911 (Pencil)

Personally, I found the spiritual art more disturbing and provoking (is that a given?). Works such as ‘Man in search of existence’ and ‘Human figures spread out below a dark landscape’ highlight the futility of our existence. The technique of using human figures that take the form of entire landscapes is intriguing, as in the cases of ‘The waterfall,’ ‘The three stages of being,’ ‘The rock’ and ‘The prayer.’ The figures blend into each other; limbs are entwined; the sky is always a prominent feature; and desperate hope surfaces out of quiet desolation. These works are an exploration of the divine and the mystic, and possibly what the artist perceived or yearned for in spiritual fulfillment.

Portrait of Charlotte Teller, c. 1911 (Oil on canvas)

The manuscripts, notebooks, postcards and even the dried out watercolour set are reminders of a time gone by, and bring Gibran’s creativity to a more grounded and clearer focus. 

It’s a rare collection that might not be coming our way for a while. It’s also a great way to discover some rarely talked about aspects of Gibran’s life and works.

(Image source: The State Library of New South Wales)