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Saloua Raouda Choucair was born on 24 June, 1916 in Beirut, Lebanon, is a Saloua Raouda Choucair was painter and sculptor painter and sculptor. Discover Saloua Raouda Choucair's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is she in this year and how she spends money? Also learn how she earned most of networth at the age of 101 years old?

Popular As N/A
Occupation N/A
Age 101 years old
Zodiac Sign Cancer
Born 24 June 1916
Birthday 24 June
Birthplace Beirut, Lebanon
Date of death 2017
Died Place Beirut, Lebanon
Nationality Lebanon

We recommend you to check the complete list of Famous People born on 24 June. She is a member of famous painter with the age 101 years old group.

Saloua Raouda Choucair Height, Weight & Measurements

At 101 years old, Saloua Raouda Choucair height not available right now. We will update Saloua Raouda Choucair's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
Body Measurements Not Available
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Who Is Saloua Raouda Choucair's Husband?

Her husband is Youssef Choucair (1914-1999)

Family
Parents Not Available
Husband Youssef Choucair (1914-1999)
Sibling Not Available
Children Not Available

Saloua Raouda Choucair Net Worth

Her net worth has been growing significantly in 2023-2024. So, how much is Saloua Raouda Choucair worth at the age of 101 years old? Saloua Raouda Choucair’s income source is mostly from being a successful painter. She is from Lebanon. We have estimated Saloua Raouda Choucair's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income painter

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Timeline

1872

Her father, Salim Rawda (1872-1917) was an expatriate in Australia trading herbs and writing manuscripts on their medicinal values.

1910

When he returned to Lebanon in 1910, he met and married Choucair's mother, Zalfa Amin Najjar (1891-1995), a Brummana High School student who was fond of reciting poetry.

1911

They had three children: Anis Rawda (1911-1988) was a businessman and a member of the Beirut municipality; Anissa Rawda Najjar (1913-2016) was a social activist, who was married to the late Fouad Najjar; and the youngest, Choucair, became one of the most prominent figures of Lebanese modernism.

1916

Saloua Raouda Choucair (سلوى روضة شقير; June 24, 1916 – January 26, 2017) was a Lebanese painter and sculptor.

Born in 1916 in Ain el Mreisa, Beirut, Lebanon, Choucair came from a family of doctors, lawyers, engineers and historians.

1917

When Choucair's father was in Damascus as a conscript in the Ottoman army, he contracted typhoid and died in 1917.

Widowed early on, Choucair's mother had to raise three children on her own and under difficult circumstances.

Choucair found inspiration within her mother; aside from being well-educated, a skilled orator and a poet, Najjar had also belonged to various women's associations and was awarded a medallion from Brummana High School upon turning 100.

Art was a part of Choucair's life from the very beginning, and she believed that, for her, "art is innate."

She produced numerous hand-crafted objects at a very young age.

1924

When she was enrolled into the Ahlia School in 1924, she designed a multitude of school posters and was known for producing caricatures of her teachers, some of which were published in the school's newspaper.

She claimed to have been far more advanced than her actual art teachers and would roam the classroom to assist those who needed help with their art.

In an interview with Nelda LaTeef, Choucair recounted her mischievous behavior in the classroom stating: "For my sociability, I spent most of my time out in the corridor!"

1934

After high school, Choucair attended the American Junior College for Women (currently the Lebanese American University) in 1934 and graduated with a degree in natural sciences in 1936.

1942

In 1942, Choucair took art lessons with Omar Onsi for three months, and that was ultimately the only formal art training she had received by that point in time, having learned most of everything else on her own.

Choucair's travels were also what ultimately ended up influencing her artistic production.

1943

In 1943, during World War II, the artist went to Egypt looking to find some art, but all the museums were closed as a result of the turbulent climate of the time.

So, Choucair instead decided to walk around the streets of Cairo and visit the mosques she encountered, and the experience inevitably had an impact on her.

"It was thrilling! I thought this is real art! It endures," she had exclaimed in her interview with LaTeef.

In a world with a fast-growing technological industry, Choucair sought refuge in Islamic Art and found it to be a timeless form of art through which she could simultaneously develop her love of art and architecture.

"It is my second love," she said to LaTeef of architecture, "I started out as a painter and then moved to sculpture."

The combination of architectural and Islamic elements became central to Choucair's artistic production, and Chris Dercon, former director of Tate Modern, emphasizes the fact that the artist chose to call into question the one-sided, Western view people often have when looking at Islamic Art.

Instead, she explores principles of Islamic design and Arabic poetry within a modernist, non-objective artistic lens.

Her sculptures are precise and geometric, and she tells LaTeef that her geometry is based on the proportions of the circle: "The essence of Arab art is the point – from the point everything derives."

1945

After her seven-month stay in Cairo, Choucair returns to Lebanon and begins working at the American University of Beirut's (AUB) library in 1945 while simultaneously enrolling in some philosophy and history courses.

1946

It is there that she meets Moustapha Farroukh, president of AUB's Art Club at that time, in 1946 and audits his art class every week.

1947

Farroukh also decided to publish one of Choucair's drawings in the club's only issue of Art Gazette. In 1947, Choucair exhibits some of her geometrical gouache drawings at the Arab Cultural Gallery in 1947, and the exhibition is considered to have been the Arab World's first abstract painting exhibition.

1948

After that, Choucair decides to leave Lebanon again in 1948 to head to Paris with her brother-in-law, Fouad, who had to travel there for business.

Initially, she did not know much about the global art scene beyond Post-impressionism, which is why she wanted to go to Paris and expose herself to everything that she had found in the news over the years.

It is there that she encountered abstract art for the first time, having roamed the Parisian streets in search of art galleries and museums to visit while Fouad attended to his business affairs during the day.

When it was time for them to head back to Lebanon, she decided to remain in Paris and enrolled herself into the École Nationale des Beaux Arts.

1949

During her three-and-a-half-year stay in Paris, Choucair observed and contributed to the thriving art scene of the region, joining Fernand Léger's studio in 1949.

However, she ended up leaving his studio three months later upon realizing that its concepts and methods did not coincide with her goals in artistic production.

1950

In 1950, she was one of the first Arab artists to participate in the Salon des Réalités Nouvelles in Paris.

1951

Before returning to Lebanon, she had her first exhibition in Paris in 1951 at the Colette Allendy gallery, and the solo show included works she had originally displayed in Beirut, in addition to paintings she produced during her time in Paris.

The exhibition was far more successful than the one in Beirut, and critics from the Art and Art d'Aujourd'hui magazines enthusiastically reviewed her work.

The Art d'Aujourd'hui critic made special mention of Choucair's work, comparing her bold forms to those of a "stonecutter" and writing that "the walls of Galerie Allendy are about to burst with the force of the paintings hanging there this week."

1959

In 1959 she began to concentrate on sculpture, which became her main preoccupation in 1962.

1963

In 1963, she was awarded the National Council of Tourism Prize for the execution of a stone sculpture for a public site in Beirut.

1974

In 1974, the Lebanese Artists Association sponsored an honorary retrospective exhibition of her work at the National Council of Tourism in Beirut.