Mouazzez Rawda

1921 – 1981, Rachana

Mouazzez Rawda, born into a Turkish family, discovered her love for Beirut at the age of twenty. She married Dr. Yusef Rawda and had a daughter named Shermine. Rawda was a dedicated artist, known for her determination and as one of the first female drivers in Beirut. She began studying art at the age of fifty, initially under Mustafa Farrukh's guidance, who encouraged her to join the Académie Libanaise des Beaux-Arts (ALBA) for three years of painting studies. She later enrolled at the American University of Beirut (AUB), where she took elective art courses for nine years. She also spent a few months studying in Paris.

At AUB, under the guidance of Professor Arthur Frick, she focused on sculpture and held her first exhibition there in 1963. Rawda actively participated in five Salon d'Automne exhibitions at the Sursock Museum from 1964 to 1968, receiving two prizes. Her sculpture "Hayalissa" was created in stone in Saida after winning the Ministry of Tourism prize for public monuments.

Rawda led a vibrant and active life, was passionate about music and proficient in playing various instruments. She challenged societal norms and fought for gender equality with her strong and dominant personality. Her sculpting work, using the chisel to shape stone and wood, symbolized her energy and determination to defy social pressures.

About her Work

Mouazzez Rawda, unlike her male counterparts, approached sculpting indirectly: she first modeled her forms in plasticine or clay, then executed them on a larger scale using stone, marble, or wood. While her early works displayed intellectual qualities with well-organized geometric shapes and intricate contours, her style evolved over time. Sharp lines and hard edges gradually gave way to smooth organic forms with sensuous surfaces. Her abstract figurations were characterized by simple yet pronounced contours, smooth curves, and delicate lines.

Rawda embraced challenges and confronted demanding materials, defying marble, hardwood, and unyielding stone with her chisel. Her sculptures can be divided into two groups: rounded and polished forms dominant in her woodwork, and geometric sharpness prevalent in her marble and stone pieces. She aimed to capture specific moments of movement or convey the historic dimension of symbols in her sculptures. Rawda's work often showcased harmony, music, and figurative elements.

Mouazzez Rawda

Untitled, 19--

Wood, 34 x 24 x 18 cm

MACAM Collection – Donation from Shermine Rawda Boulos and Dr. Suhail Boulos