Draft:Yervant Hawarian

Yervant Hawarian Born in Qamishli, Syria on October 25, 1949, is a Lebanese artist of Syrian descent, known for his contributions to the film poster and large-scale advertisement industries in Lebanon. His works were largely seen around Lebanon between the early 1960s to the late 1990s, marking him as a key figure in the region's artistic landscape according to public perception. Hawarian's journey from a self-taught artist in Syria to a commonly commissioned artist in Lebanon exemplifies his progression. His works, known for their scale and impact, have played a significant role in shaping the visual culture of Lebanon during a period of vibrant artistic expression.

Early life
Hawarian was born in Qamishli, Syria, the fourth child in a large family of eleven. His grandfather, a genocide survivor, had established a successful flour mill business in the city, which his father Kevork later took over to provide for his family. From a young age, Yervant displayed a natural inclination towards art. At eight years old, he began experimenting with drawing, initially using his older brother's art materials. His first significant artistic influence was Avedis, a local artist known for his movie posters. During his summers and up until he was 12 years old, Yervant apprenticed with Avedis, starting with simple coloring tasks, which laid the foundation for his artistic development.

The family's fortunes took a turn during the Abdel Nasser era when their business was impacted by the Syrian regime's policies, including the disruption of water supply to their mills. This challenge forced the family to move to Lebanon. Despite the cramped conditions in their one-bedroom apartment in Bourj Hammoud, Yervant persisted with his art.

As Hawarian’s passion for art grew, it clashed with his father’s expectations. Kevork, who had started a shoemaking business in Lebanon, hoped Yervant would join him. This conflict reached a peak when Hawarian, firmly choosing art, was compelled to leave his family home at the age of fifteen.

Hawarian found shelter in a local cinema, exchanging his skills in painting movie posters for a place to stay. Within months his work soon became popular in Bourj Hammoud, leading to an eventual reconciliation with his father who was proud to see their family name receive popular acclaim and praise by the community.

Work
Yervant Hawarian emerged as a prominent figure in the public consciousness in Lebanon during the mid-1960s, belonging to a generation of artists whose publically exhibited art thrived in a pre-media-saturated era. He gained recognition in the 1960s, owing to his precision, speed, and dependability. Subsequently, he established a studio in Downtown Beirut, situated at the intersection of Damascus Street and Mkhallissiye, complemented by the larger studio within and near the Cinema Royal in Bourj Hammoud. At his height Hawarian’s studio was staffed with over 15 assistants, each assigned to a different aspect of producing his work, including stretching, priming, and coloring tasks and additionally mounting and unmounting the larger works. Hawarian would execute the focal points of the artwork, mainly the face and details that required the most attention, and he would use a color-by-number system so that each of his assistants could continue coloring as if they had been done "by a single hand”.

Cinema Era (1964-1990)
Hawarian is an influential artist in Lebanon known for his prolific work in the field of movie posters and banners that have left a mark on the nation's cinematic landscape over a period of thirty years.

Throughout his career, Hawarian consistently delivered thousands of posters and banners to cinemas all across Lebanon, playing a crucial role for cinema-goers during his era. In a time when the movie poster was the primary point of reference for audiences to choose which films to watch, Hawarian's contributions were paramount. Cinema owners sought artists who could deliver clear, attractive, and well-executed artwork within their budget constraints and strict deadlines, and Hawarian continuously met these demands, propelling him to public acclaim.

Many professionally-trained artists in Lebanon, who later pursued different careers, were initially drawn to the movie poster industry due to its consistent, regular, and substantial pay for each work delivered on time. However, the industry was known for its demanding nature, requiring speed, skill, and a commercial mindset, causing many artists to quickly abandon it. Hawarian, on the other hand, embraced these challenges and delivered.

As other artists gradually withdrew from the arena, Hawarian rose to dominate the cinematic landscape. He established partnerships with over 50 cinemas in Lebanon, working with them every week. His commissions often included posters as large as 2 meters in height and banners spanning up to 12 meters in width.

Hawarian is widely regarded as the most prolific artist in Lebanese popular art history, and he continues made significant contributions to the world of cinema through his artwork. His enduring presence in the industry highlights his dedication to the craft and his ongoing impact on Lebanon's cultural heritage.

Bourj Hammoud Cinemas (Starting 1964)
Hawarian began his career in 1964, at the age of 15, in his adoptive hometown of Bourj Hammoud. His first-ever commission was for the cinema Madonna in 1964, where he later received accommodations as compensation for his work. Subsequently, he began creating movie posters for cinemas Knar, Salome, and Azar starting in 1965, and soon after would have all the cinemas in the area work with him as he added cinemas Plaza, Arizona, Royal, and Kermanik in 1966. His signature in the predominantly Armenian community of Bourj Hammoud had been solidified.

Beirut Cinemas (Starting 1966)
In 1966, Hawarian wished to expand his work into the capital, extending his influence to the bustling city of Beirut. His first ever experience was a one-off commission for the notorious cinema Rivoli in 1966 for the movie “The Child of Sin” where he created a 14-meter high child that was exhibited in the middle of Beirut city. Over the next several years, he would secure regular contracts with different cinemas in the area including cinema Salwa in 1967, Miami and Samira Miss in 1968, Amir and Beirut in 1969, Rivoli in 1970, Dunia in 1974, Roxy in 1973, and Radio City in 1973, among others. His significant contributions to the Beirut film scene enriched the cinematic experience for locals and visitors alike.

Tripoli Cinemas (Starting 1968)
During the late 1960s and early 1970s, Tripoli, Lebanon’s second-largest city, became another venue for Hawarian’s work. In addition to operating his own cinema in the city, he designed posters for cinemas such as Rivoli, Roxy, and Empire starting in 1968. His work was regularly seen at Cinema Colorado in 1970, and the latest addition was Sarolla in 1978.

Other Cinemas around Lebanon (1970-1980)
Hawarian's artistic contributions extended beyond Bourj Hammoud, Beirut, and Tripoli, encompassing various cities across Lebanon. Notable mentions include his work at Hilton Cinemas in Zahle (1971) and Cinema Dunia (1972). In the South, he left his mark on Hilton Cinemas in Saida (1972) and Cinema Dunia in Sour (1974). In Hamra, theaters like Piccadilly, Strand, and Versailles (1978) and finally Espace in Kaslik (1979).

Later Cinema Additions (1980-1990)
In the mid-1980s, Yervant Hawarian continued to collaborate with new cinemas, including Cinema Eldorado in Zahle (1983), Estralle in Hamra (1985), Cinema Kaslik in Kaslik (1985), La Cité in Jounieh (1986), and Monte Carlo in Hamra (1987). Cinema Residence in Jounieh and Montreal in Hamra marked his last documented commissions in 1990. Evoire in Sin El Fil marked the culmination of his contributions to the world of cinema.

Cinema Royal
In 1971 as Hawarian was growing in popularity for his artistic contributions in Lebanon, he expanded his venture into the cinema industry, leveraging his insights into the business from his observations over the years of communicating with different cinema owners and promoters.

In his early days in the movie industry, Hawarian capitalized on the high frequency of cinema attendance. He began by investing in the operation of a local cinema, using his savings to acquire the rights to operate Cinema Royal. This move granted him access to film showing rights and opened doors to explore the world of film distribution rights.

This decision proved successful which prompted Hawarian to expand his portfolio by investing in four additional cinemas—three in Bourj Hammoud and one in Tripoli, with Cinema Royal remaining as his flagship operation headquarters. His dominance in the movie poster sector grew as a result, with his captivating posters drawing the attention of other cinema operators who commissioned his work, sometimes unaware that he was also their business competitor.

However, the rise of home television and the advent of digital media during the early 2000s began to impact cinema ticket sales. In response to this market shift and following personal challenges, including the loss of his wife, Hawarian was compelled to downsize. He focused solely on Cinema Royal, navigating the rapidly changing landscape of media and entertainment.

In 2015, marking the end of an era in his diverse career, Hawarian closed Cinema Royal. This long overdue decision reflected the broader industry evolution and his journey through the world of cinema and art in Lebanon.

Political Banners
In the 1960s, Hawarian began to gain recognition for his large-scale movie posters and banners. This attracted the attention of political figures, who sought similar services to distribute such items around Lebanon to grow their influence. From the 1960s, Hawarian started receiving commissions from politicians. His first political commission was for Adnan Al Hakim in 1966. A notable commission was from the 7th president of Lebanon, Camille Chamoun in 1970, to create a 240x120 cm painting of Suleiman Frangieh.

Hawarian's political commissions were noteworthy for their breadth and impact, and generated significant attention, leading to a series of requests. During the 1970s, his talent was sought after by prominent Lebanese political figures. His works from this period include portraits of Michel el-Murr, Michel Sassine, Elias Sarkis—the latter being the first direct commission from the presidential palace—Camille Chamoun, Dany Chamoun, Pierre Gemayel, and Bashir Gemayel.

Moving into the 1980s, Hawarian continued to leave his mark on the political landscape. This decade saw him painting influential leaders such as Walid Jumblatt, Amine Gemayel - again commissioned by the presidential palace - Samir Geagea, and Michel Aoun.

The 1990s further cemented Hawarian's role as a key artistic figure in the political domain. His subjects during this period included Kamal Jumblatt, Elias Hrawi, Hafez Al-Assad, Rafic Hariri, Bassel Al-Assad, and several other notable figures such as Jack Chukhadarian, Dr. Atef Majdalani, Gilbert Chamas, Michel Pharaon, Nabih Berri, Apraham Dedeyan, Hagop Pakradouni, and Emile Lahoud.

Entering the early 2000s, Hawarian's art continued to resonate with the political elite. His notable works from this era featured Boutros Harb, Bashar Al-Assad, Maher Al-Assad, Rashid Karami, and Omar Karami.

Lebanese Presidential Palace
Through state-commissioned artworks for the Lebanese Presidential Palace in Baabda, Hawarian became the official painter for five consecutive Lebanese presidents. These influential figures included Elias Sarkis, Bachir Gemayel, Amine Gemayel, Elias Hrawi, and Emile Lahoud, each bringing their distinct presence to the Lebanese political landscape.

The Assad Family
Hawarian is widely regarded in the Middle East, particularly in Lebanon and Syria, where his works are deeply appreciated. Influential figures have commissioned him for his art, including notable mentions in presidential circles. For instance, Lebanese President Elias Hrawi influenced Syrian President Hafez Al Assad, which paved the way for a new chapter in his post-cinema era.

Hawarian was unexpectedly invited to the Lebanese presidential palace in 1992, which led to a consequential visit to President Assad's residence in Syria. This meeting spurred a commissioned work, for which Hawarian notably offered the work as a gift.

This marked the beginning of a prolonged collaboration between Hawarian and the Assad family. From 1992 to 2004, Hawarian spent extended periods in Syria, in order to deliver the works requested. He created portraits of Assad's sons, Basel Al Assad (especially after his sudden death), Maher Al Assad, and Bashar Al Assad, contributing significantly to Syrian visual culture.

Hawarian's impact is seen in his creation of approximately 1000 large-format state-sponsored paintings of the Assad family, prominently displayed across Syria at the time. Among these, two distinctive paintings of Basel Al Assad stand out: one depicting him riding a horse, and another portraying him as an angel with his father, Hafez, praying. These works have become etched into Syrian history. His most monumental commission was a 45-meter-high wood panel painting of Hafez Al Assad, capturing the president's iconic posture with open and waving arms.

Embassies
In addition to political figures, Hawarian was also commissioned by various embassies, contributing to his international acclaim. Notable commissions include those from the Embassy of Egypt in 1966 for a portrait of Gamal Abdel Nasser, the Embassy of Iraq commissioned a portrait of Saddam Hussein in 1980, and the Embassy of Jordan for a portrait of King Hussein in 1980.