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Place des Martyres (paintings)
''Place des Martyres'' is the title of a series of over 250 watercolors and drawings executed in New York and Beirut between 1971 and 1974 by Nabil Kanso.〔''Nabil Kanso: Place des Maryres: Works on Paper'', 76th Street Gallery, Catalog, New York, 1973〕 The subjects of the works in the series are based on the women headquartered in the red-light district of Beirut city center called el Bourj, and after World War I〔Prior to WWI, el Bourj was called Place des Canons in reference to the Cannons placed by Russian in 1773 and France in 1860, Hanssen, Jens: ''Fin de siecle Beirut: The Making of an Ottoman Provincial Capital'', p. 255, Oxford University Press, 2005〕 named Place des Martyrs French for Martyrs’ Place〔Pre-civil war el Bourj was rectangular shaped area measuring about 300 meters long and 150 meters wide, Baedeker, Karl, ''Palestine and Syrian: With the Chief Routes Routes Through Mesopotania and Babylonis'', p. 279, Harvard University Press, 2007〕 in memory of dozens of Arab nationalists who were hanged in 1915-16 during Ottoman rule.〔Tueni, Ghassan, and Sassine, Fares, ed.: ''el Bourj'', pp.216-217, Editions Dar An-Nahar, Beirut, 2003〕
==Watercolors==
The watercolors in the ''Place des Martyres'' series consists of approximately 170 works in 3 sizes of 44X56cm, 35X51cm, and 31X41cm. They are characterized by transparent deep colors of red, orange, yellow, blue, and black embodying figurative imagery representing both real and imaginary scenes of the gaudy life in the city center district adjoining Place des Martyrs. Painted in the atmosphere of pre-civil war Beirut, the compositions depict sexualized encounters and interactions of figures in various sensual situations and entertainment settings. They make references to works of such artists as Degas, Toulouse-Lautrec, Rouault, Kirchner, Nolde,〔Brown, Gordon, "Kanso", Arts Magazine, June, 1972 and February, 1973〕 Laurencin and Pascin whose “Sensual spirit seems to inspire the aquarelles and inhabit Kanso’s figures, which in a semi-erotic round, covet, touch, caress, move, and seem to emerge from a pagan fresco where time is consecrated to dance, perfume, and moments propitious to dialogue, exchange, comparison, and fleeting occasions.”〔Saint-Evremond, "Kanso", 76th Street gallery, France-Amerique, January 13, 1972〕 Others point out that the depicted figures “assume the poses of interpretive dance without being self-conscious.〔Brown, Gordon, "Kanso at 76th Street gallery", Arts Magazine, February, 1972〕 Some of the images contain poetic and bowdlerized words reflecting ironic and humorous tones with allusion to Beirut sexual market place and its social life and culture. They show scenes of figures in the street, at the café, bar, salon, or intimate setting, and engaged in conversation, flirtation, relaxation, or transaction for the pleasure of the senses. The figures reflect a blend of “expressive faces, beseeching, flirtatious, charming, sleepy, talkative, reluctant, and pensive.”〔Gordon, Brown: "Kanso", Arts Magazine, February, 1973〕
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