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The Split of Life
''The Split of Life'' is a series of over 80 mural size oil paintings by Nabil Kanso. The paintings span a period from 1974 to 1994, and deal with contemporary and historical issues of war and violence.〔Nabil Kanso: The Split of Life Paintings: 1974-1994, NEV Editions, Atlanta, GA, 1996〕
==Development and description==
The subject of war in Kanso’s work began during 1972-74 in New York when he did a series of paintings and drawings〔The Split of Life, p.13〕〔Brown, Gordon: ''Kanso’s Drawings'', Arts Magazine, June, 1972〕 on the Vietnam War. After a brief pause,〔The Split of Life, p.12, Kanso’s studio was seized in 1974, and most of his art works were placed in storage, and, eventually, destroyed〕 he started in 1975 the Lebanon war series evoked by the civil war that broke out in his native land.〔Fox, Catherine: ''Artist Inspired by War-Torn Homeland'', Atlanta Journal/Constitution, pp. H1-3, July 8, 1984.〕 The intersection of the two series reflecting similarity in composition, scale, style and theme provided the framework for a larger series whose underlying theme formed the basis of ''the Split of Life'' series in encompassing several other series dealing with war.〔Erminy, Peran: ''The Apocalyptic Paintings of Nabil Kanso'', El Nacional, pp. 2-3, Caracas, 1987 ()〕〔Bäckström, Lars: ''Guernica of Our Time'' Ord & Bild, pp. 42-45, January, 1986 Stockholm, Sweden ()〕
''The Split of Life series'' delineates two periods: 1974-85 and 1986-94. The works of the first period are characterized by the use of warm colors dominated by red, orange, yellow and black, and the depiction of compositions in which masses of figures occupy the entire surface plane.〔The Split of Life, p.9〕 Among the series in the period are the Vietnam, Lebanon, One-Minute on (Hiroshima and Nagasaki) and Time Suspended in Space on (South Africa) series. The works of the 1986-94 period depict compositions that divide the canvas in 2 or more sections depicting figures painted in dark blue and black within an enclosure of red and orange surrounded by a white space.〔Wehner, Rob: ''The Bloomsbury Review'', p. 6, July/August, 1998, the author points out that the use of “White seems to pierce the canvas and gives the paintings the balance and strength they need to grasp the emotions Kanso tried to convey.”〕 Everywhere in the painting there is the dynamics of transformation, rather than static forms of distribution and knowledge.〔"Nabil Kanso, Articles, Essays, and Reviews on Kanso's Art." Nabilkanso, Nabil Kanso Artworks, Kanso's Art, Kanso's Paintings and Works on Paper. Web. 23 Apr. 2012. ().〕 Among the series in this period are the Cluster Matter, Glory and Cruelty, and Living Memory (Auschwitz) series. It is suggested that most of the ''Split of Life'' paintings are recessive in the upper center, and somewhat bilaterally symmetrical. This division is often in the form of a face placed against a V form. The violence seems to deploy itself towards that opening so that the center is dominated by a mother of war, a kali-figure.〔Sondheim, Alan: ''Nabil Kanso’s Split of Life paintings'', Conference, Nexus Contemporary Art Center, Atlanta, October, 1985. ()〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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