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For some individuals, talent is ingrained in their DNA, and the late Robert Frangieh was unequivocally one of them. As a profound intellectual, discerning music lover, and relentless explorer, he perpetually sought to enrich his knowledge base and to impart wisdom onto others. In the year 2000, following a life replete with rich experiences, he embraced the world of painting and passionately dedicated a decade to it, until illness curtailed his creative journey.
To commemorate the fifth anniversary of his departure, the Sleiman Frangieh Palace in Ehden hosted an exhibition in his honor, momentarily resurrecting the spirit of this extraordinary individual affectionately dubbed “Robert Beik.” This touching tribute originated from an initiative by his friend and yoga instructor, Julie Saadé, who conceived this sparkling idea and shared it with the family of the deceased. Thus, precisely five years after his demise, on September 1, the exhibit greeted its first visitors.
Materializing this ambitious project required the collection of around 70 artworks, once generously gifted to loved ones and now scattered in various locations, since “Robert Beik seldom sold any of his pieces; he favored gifting them to those he held dear, save for a single piece that was auctioned in the USA for the benefit of an NGO,” highlighted Samih Zaatar, photographer and close associate of the artist. The exhibition was imbued with a symbolic and spiritual dimension, a feat achieved through the meticulous planning of Hend Yammine Zaatar, Samih’s wife, who is an architect by profession. She orchestrated a personal rendition of “The Last Supper,” among other things.
Robert Frangieh nurtured a lifelong passion for art and the incessant pursuit of discovery, immersing himself in music, explorations and travels. Despite confronting challenging circumstances that momentarily estranged him from his beloved pursuits, he managed to revert to them once family obligations were met. Encouraged by his childhood friend and neighbor, the painter Mona Bassili Sehnaoui, he fully delved into painting from 2000 onwards. Under Mona’s guidance and practical tips, Robert’s innate talent blossomed, bringing forth canvases brimming with emotion and expressive colors.
While his style bore hints of abstraction, it remained fundamentally figurative, encapsulating portraits of loved ones as well as a delicate self-portrait that seemingly depicts a fetus in the womb upon first glance. His oeuvre also features representations of his beloved dog, Dalil, and iconic places that left a lasting impression on him, such as Aleppo and Palmyra. Robert chose to sign his works on the reverse, denoting merely his first name and the year the piece came into existence.
In his private dining room, a collection of portraits of “his friends” could be found, resonating with the number of disciples in “The Last Supper.” This artwork, steeped in mystery, raises intriguing questions: Why is Judas characterized by male features? Why are some “guests” illustrated with feminine aspects? And why is Jesus’s face concealed? These riddles are destined to remain unsolved, adding to the mystical aura surrounding “Robert Beik’s friends.”
What remains unequivocally true is that the grace and elegance that emanated from him have indelibly marked the hearts of those privileged enough to have known and loved him.
