Where can I see Emir Bashir and Sheikh Nasif al-Yaziji at Beiteddine Palace?

Emir Bashir and Sheikh Nasif al-Yaziji at Beiteddine Palace is held by Sursock Museum.

What movement is Emir Bashir and Sheikh Nasif al-Yaziji at Beiteddine Palace?

Emir Bashir and Sheikh Nasif al-Yaziji at Beiteddine Palace is associated with Orientalism.

Artwork

Emir Bashir and Sheikh Nasif al-Yaziji at Beiteddine Palace

Moustafa Farroukh , 1939

Emir Bashir and Sheikh Nasif al-Yaziji at Beiteddine Palace is an oil painting by the Orientalist artist Moustafa Farroukh. It dates from 1939 and is held in the collection of the Sursock Museum.

About this work

Overview

Created circa 1939 by Lebanese painter Moustafa Farroukh, this oil on canvas depicts a historic encounter within the opulent Beiteddine Palace. The composition centers on two distinguished figures, set against an elaborately carved hallway that frames the scene with arches and light filtering through tall windows.

Subject & Meaning

The work presents Emir Bashir Shihab II, the 18th‑century ruler of Mount Lebanon, alongside the 19th‑century intellectual Sheikh Nasif al‑Yaziji. Their juxtaposition in the palace interior suggests a dialogue between political authority and cultural scholarship, highlighting the legacy of Lebanese leadership and literary tradition.

Technique & Style

Farroukh employs the Orientalist visual language, using rich, saturated colors and pronounced brushwork that lend texture to fabrics and architectural details. The contrast between the red turban and dark robe of the emir and the black robe with red head covering of the sheikh emphasizes their individual status within the shared space.

History & Provenance

The painting is part of the collection of the Sursock Museum in Beirut, where it has been displayed as a representative example of early 20th‑century Lebanese art. It reflects Farroukh’s prolific career, during which he produced more than two thousand works and authored several books, including a biography.

Context

Situated within the broader Orientalist movement, the piece reflects Western artistic interest in Middle Eastern subjects, yet it is executed by a native Lebanese artist. By portraying local historical figures in a grand architectural setting, Farroukh bridges European stylistic influences with regional identity.