Ascending the semi-circular staircase of the Courtauld Gallery, with its freshly coated electric blue bannisters, the visitor undertakes a physically demanding and intellectually exhilarating climb through centuries of artistic production that are carefully arranged across three floors. The Gallery has recently reopened its doors with much pomp after a two-year hiatus for building renovations, welcoming seasoned and new crowds to its sleek, clean-cut spaces.
Author: Ambra D'Antone
An article which appeared on Saturday 13 January 1962 in the Lebanese cultural newspaper L’Orient Littéraire , co-authored by the Syrians Chérif Khaznadar (1940 –), a poet and art critic, and the painter Louay Kayyali (1934 – 1978), presents us with a visual and logical conundrum. In the lead to the article, Khaznadar and Kayyali reported a thrilling artistic discovery they had made in Damascus: in the dark and cluttered shop of a merchant in the Bab al-Jabiyyah souq the two found a painting, “a marvellous specimen of ancient Damascene art”, which they were eager to study