The beautiful minds we lost in 2024

The year 2024 witnessed the passing of a remarkable group of writers, poets, and artists who had profoundly influenced the realms of creativity and intellectual thought since the mid-20th century. This generation lived through pivotal historical moments, including the Nakba of Palestine, the aftermath of World War II and the Lebanese and Syrian wars. It also witnessed moves away from traditional literary and artistic frameworks.

What these departed figures have in common—regardless of their diverse orientations and styles—is their shared intellectual and aesthetic resistance to the erosion of the human spirit and memory.

Elias Khoury

On 15 September 2024, Elias Khoury passed away at the age of 76, leaving behind an extraordinary literary and intellectual legacy. More than just a writer, Khoury was a storyteller who gave voice to the plight of marginalised peoples and the forgotten, whose narratives were often omitted from official histories.

Born in Beirut in 1948, the year of the Palestinian Nakba—a cultural and human catastrophe that deeply shaped his worldview—Khoury used his novels to redefine the relationship between the individual and history. He revitalised literature as a powerful medium for deconstructing and reconstructing the complexities of human tragedy.

The Lebanese Civil War (1975–1990) and the Palestinian Nakba were central themes in his writing. These defining events extended beyond their historical timelines in his works, shaping a narrative landscape where characters battled internal conflicts in their identity, memory, and history.

In his 1998 novel Gate of the Sun, Khoury portrays the Palestinian Nakba through the voices of refugees. Rooted in real-life testimonies, the novel has become a literary staple chronicling the hardships Palestinians experienced in exile. The refugees depicted are not merely victims but custodians of memory—heroes striving to reclaim what was taken from them through the power of storytelling.

Khoury possessed an extraordinary vision of writing, viewing it as a medium to dismantle official narratives and reconstruct them. In Yalo, he delved into the psyche of a character wrestling with fragmented memories, where truths and illusions intertwined. In Sinalcol, he used symbolic titles and characters to weave a narrative world where dreams and fantasies seamlessly blended with reality. The novel refrained from giving definitive answers about the identity or meaning of its characters, instead leaving readers with open-ended questions. This narrative approach was integral to Khoury’s broader aim to reshape Arabic literature, transforming the text into a space for introspection and intellectual exploration.

Khaled Khalifa

In October 2024, the literary world grieved the passing of Khaled Khalifa, the renowned Syrian novelist, who died at the age of 59. Born in Aleppo in 1964—a city rich in history and stories—Khalifa left behind an enduring literary legacy that poignantly chronicled Syria’s struggles and suffering.

Throughout his prolific career, Khalifa became the voice of Syria's marginalised, using literature as a tool to document pain and uncover humanity amidst chaos and devastation.

Refusing to leave his homeland even during its darkest moments, he believed his role as a writer was to bear witness from within, narrating his people’s stories from the heart of their suffering. His novels transcended mere storytelling, offering profound reflections on human destiny, delicately balancing despair with hope.

His final work, Dead Fish Breathe Lemon Peels, published in 2023, represented the apex of his literary mastery. The novel depicts characters teetering on the brink of existence, searching for meaning in a world ravaged by destruction.

Read more: Khaled Khalifa: The extraordinary novelist who captured Syria's tragedy

Among his most acclaimed works is No Knives in the Kitchens of This City, which won the Naguib Mahfouz Prize for Literature in 2013. This haunting novel offers a harrowing portrayal of Syrian society’s collapse under the crushing weight of political and social oppression. Set against the backdrop of Aleppo, its characters endure a relentless struggle for survival within a regime that has obliterated all semblance of humanity.

In Praise of Hatred, shortlisted for the International Prize for Arabic Fiction in 2008, Khalifa explored the turbulent conflicts of 1980s Aleppo. The story follows a young woman from a conservative family who navigates a volatile landscape of religious and political strife. The novel unveils worlds where family dynamics intertwine with broader political struggles, offering a profound reflection on the complexities of identity and belonging.

His 2016 novel, Death Is Hard Work, translated into multiple languages, stands as a poignant human epic. It narrates the journey of a family attempting to bury their father in his village amidst the chaos of the Syrian war. The novel illustrates how war reshapes human relationships, compelling characters to confront impossible choices. Using a fairly simple narrative, Khalifa delivers a profound reflection on the meaning of life and death amidst chaos.

Alice Munro

Alice Munro—a Canadian writer who redefined the short story genre—devoted her career to delving into the depths of humanity by portraying the everyday moments and simple experiences that form the essence of life.

Born on 10 July 1931 in Ontario, Canada, and passing away on 13 May 2024, Munro devoted her literary career to elevating the short story as a profound medium for exploring the complexities of human existence. Her remarkable contributions to literature were recognised with the Nobel Prize in Literature in 2013.

Munro was not only the first Canadian to win the Nobel Prize in Literature but also the first writer to bring the short story genre to this prestigious recognition after a 112-year gap. The Swedish Academy lauded her for “bringing precision, wisdom, and depth to each story, transforming the experience of reading her work into a journey of constant discovery, offering something new with every read.”

Despite her remarkable talent for crafting short stories, Munro always aspired to write a novel—a goal she openly admitted she never achieved. In an interview, she spoke of her struggles with the novel form, challenges that were further compounded by her responsibilities as a mother to three daughters. Reflecting on these difficulties, she once remarked, “I did not have the time to think about what others need. Writing, for me, was nothing short of a miracle if I managed to accomplish anything at all.”

Her literary career began with Dance of the Happy Shades (1968), her first short story collection, which firmly established her place in Canadian literature and earned her the Governor General’s Award, Canada’s highest literary honour.

Munro’s stories are often set in small Canadian towns, where human relationships are deeply intertwined with moral dilemmas, and generations grapple with conflicting aspirations and life paths. Her protagonists—frequently women—lead seemingly ordinary lives but confront profound challenges such as harassment, loss, or the struggles of ageing. What sets her writing apart is her ability to take these simple, everyday details and imbue them with a profound depth, transforming them into narratives that tackle significant existential questions.

Munro developed a non-linear narrative style that seamlessly moved between present, past, and future—a technique she described as “natural.” However, this approach did not come easily, as her works underwent extensive revision to capture life's subtle nuances and complexities.

Often referred to as “a modern-day Chekhov,” Munro was celebrated for her ability to portray rural and human life with texts rich in detail and insight. When asked about the legacy she hoped to leave her readers, she humbly stated, “I want people to enjoy reading my books and feel that they are connected to their lives in some way.”

Ismail Kadare

Ismail Kadare, the Albanian author who passed away in July 2024 at the age of 88, was one of the greatest literary voices to capture humanity’s struggles with empires and dictatorships. His literary journey transcended geography and politics, painting a complex picture of a turbulent world where individuals stand powerless against the forces of history and geography. In more than 80 works translated into 45 languages, Kadare explored human fragility within a world perpetually leaning toward domination and control.

Kadare grew up under the iron-fisted dictatorship of Enver Hoxha in Albania. These conditions were not merely a political backdrop for his novels but formed the core of his personality and creative works. He skillfully navigated this oppressive system, exposing its inherent contradictions. Kadare occupied a rare, ambiguous space, balancing proximity to power with distance from it, using the tools of oppression to craft literature that, at its core, opposed oppression.

Kadare’s works showcased a unique literary vision that seamlessly combined symbolism with realism. He used geographical imagery and conceptual metaphors to craft worlds that felt tilted and unsteady. In The City of Stone, he portrayed a city defying conventional architectural norms, where people descended from its roofs and stumbled along its uneven paths.

This city symbolised a world stripped of stability and was not merely a physical space but a spiritual landscape, embodying fragmented dreams and concealed truths. It served as a profound metaphor for humanity’s internal struggles and its fraught relationship with the surrounding world.

Read more: Ismail Kadare: The novelist who took on the world of empire

For Kadare, Albania was more than just a homeland; it held profound symbolic significance in his literature. It stood as a marginalised entity confronting an imperial centre that sought to impose its own definitions on the world. Kadare aimed to affirm Albania’s place within Europe, striving to make his literature a cultural bridge.

However, this bridge was fraught with challenges as Albania navigated its complex identity as a European nation formerly part of the Ottoman Empire. This identity struggle permeated much of his work, where he captured Albanian anxiety over seeking validation from a world that they thought often rejected them.

Kadare’s literary legacy cannot be quantified. He was both a poet and a novelist, skillfully merging surrealism with realism and drawing on both fact and fiction to craft his unique style.

In The Palace of Dreams, he portrayed a regime attempting to control people’s dreams. Such powerful symbolism was also found in his works like The General of the Dead Army, where the search for soldiers’ remains evolves into a profound journey uncovering a history marked by shame and colonialism.

Badr bin Abdul Muhsin

Badr bin Abdul Muhsin bin Abdulaziz—a master of intricate poetic imagery—passed away on 4 May 2024 at the age of 75. His legacy is etched into the heart of Saudi and Arab culture as a poet of colloquial verse and as a visionary who reshaped Saudi music. His linguistic artistry wove nostalgia, love, and pride into verse while tackling national and social themes with unmatched eloquence.

Born on 2 April 1949 in Riyadh, Badr grew up in a household steeped in literature and culture. His father, Prince Abdul Muhsin bin Abdulaziz, was a poet and avid bibliophile with an extensive library, while his mother, Princess Wadha Al-Hamoud Al-Rasheed, was a storyteller who nurtured his imagination. Immersed in this rich cultural environment, Badr’s creativity flourished early on. His education in Saudi Arabia, Egypt, Britain, and the United States further broadened his horizons and deepened his artistic vision.

Badr began writing poetry at an early age, initially inspired by the great poets of the Arabian Peninsula. However, he quickly developed his own distinctive style, emerging as a pioneer of modernity in colloquial poetry. His works were marked by their originality, blending a fertile imagination with innovative visual imagery. He masterfully captured life’s smallest details, offering the perspective of a poet who transcends reality to create entirely new worlds, as beautifully illustrated in his line: “The eyelid of night falls, and I shake its shoulder.”

Over the course of half a century, Badr played a pivotal role in the remarkable evolution of Saudi music, with his name becoming inseparably linked to the most prominent voices in the Arab world. His partnership with Talal Maddah—a staple of Saudi music—produced timeless songs like Zaman Al-Samt (Time of Silence) and Maqadir (Fates), marking an evolution of Saudi musical taste. Similarly, his collaboration with Mohammed Abdu produced exceptional masterpieces such as Abaad (Far Away) and Al-Barwaz (The Frame).

Badr’s influence transcended Saudi Arabia’s borders, with his lyrical brilliance captivating artists across the Arab world. The Iraqi legend Kadim Al Sahir brought his words to life in 'Ya Oyoun (Oh Eyes)'—a song that encapsulated Badr’s unique blend of emotion and imagination.

His collaboration with Rashed Al-Majed produced deeply moving works like 'Al-Musafir (The Traveller)', while Abdul Majeed Abdullah infused depth into tracks such as 'Ya Tayib Al-Qalb (Oh Kind Heart)'. Other celebrated artists, including Abadi Al-Johar and Abdallah Al-Rowaished, interpreted his lyrics in diverse styles, further expanding his artistic influence across the region.

Badr’s contributions extended beyond romantic themes to patriotic works that resonated deeply with the Arab world. During Kuwait’s liberation, he penned the operetta 'Waqfat Haq (A Stand for Justice)'—a poetic epic celebrating resilience and sacrifice. In 'Faris Al-Tawhid (The Knight of Unification)'— written for the centenary of Saudi Arabia’s founding—he masterfully narrated the kingdom’s history, blending national pride with poetic grandeur.

Paul Auster

On 30, April 2024, American writer Paul Auster passed away at the age of 77 after a two-year battle with cancer. Auster left behind a literary and artistic legacy that transcended time and space. A philosopher and thinker, his works reflected his profound passion for exploring the complexities of human existence.

Auster was one of the last great voices that elevated American literature to realms beyond its own geography and culture. His creative career, which produced 34 works translated into more than 40 languages, made him a global literary icon. Through novels like The New York Trilogy and The Invention of Solitude, Auster established himself as a versatile writer.

Auster’s protagonists do not meet clear fates. Instead, they wander through labyrinths of open choices, navigating lives marked by fragmentation and lack of centrality.

In The New York Trilogy—one of his most notable works—the plot appears at first to be a detective story. However, it soon delves into symbolism and isolation, away from traditional plotlines. The novel’s protagonists surveil others but find themselves trapped within the lives of their subjects. They lose their identities and become reflections of the very people they observe. Auster's narration style mirrors his worldview: uncertain yet filled with infinite possibilities.

Read more: Paul Auster's 'Mr. Vertigo': A masterpiece of intrigue

Auster’s works even found their way to the big screen. He directed and wrote screenplays for films such as Smoke and Lulu on the Bridge, in which the same themes that characterise his novels reappear: sorrow, loss, impossible choices, and the search for meaning in an unstable world. In The Inner Life of Martin Frost (2007), Auster explored the complex relationship between a writer and their story, revealing how each shapes the other.

In The Invention of Solitude—one of his most profound and personal works—Auster reflected on his father's death, examining solitude as a comprehensive existential condition. To him, isolation was not merely a choice or a temporary circumstance but the essence of modern life.

Auster was always ahead of his time. His novels, such as The New York Trilogy and 4 3 2 1, predicted many issues plaguing the modern era. Long before the advent of social media, Auster explored surveillance and isolation as integral aspects of contemporary life. In his final novel, 4 3 2 1, which spans over 800 pages, he examined the life of a single character from multiple perspectives, exploring how simple choices can shape divergent destinies.

Shawqi Abi Shaqra

On 10 October 2024, Shawqi Abi Shaqra passed away at the age of 89, leaving behind a poetic and cultural legacy uniquely his own. Abi Shaqra was a Lebanese poet who revolutionised the Arabic language, transforming it into a space of wonder and liberation from traditional constraints. His ability to illuminate the ordinary and familiar, imbuing it with new dimensions, established him as a symbol of poetic modernity and a foundational voice in Arabic prose poetry.

Born in 1935, Abi Shaqra's early years were profoundly shaped by the tragic loss of his father—a military officer—in a car accident when he was just ten years old. This life-changing event planted the themes of falling and collision deep in his consciousness—motifs that would later become integral to his poetic vision.

Abi Shaqra’s poetic career began with the publication of his first collection, The Poor’s Bags (Akyas Al-Fuqara’), in 1959, a work that shocked the poetry scene of the time. This collection marked the start of a significant transformation in Arabic poetry, as it introduced the early features of the prose poem, a form Abi Shaqra would later fully embrace as his defining poetic project. Poems like The Funny Old Man from this collection highlight his remarkable ability to manipulate paradoxes and imagery, crafting worlds that appear familiar yet hold symbolic depths, inviting boundless interpretations.

For Abi Shaqra, language was more than a mere tool for expression; it was a vibrant, living entity. His prose poetry was neither an imitation nor a translation of external influences but an original form he crafted, profoundly rooted in his personal experiences and cultural heritage. His 1962 collection, Water for the Family’s Horse (Maa’ Ila Hisan Al-‘A’ila), which won the prestigious Shi’r magazine prize, cemented his status as a pioneer of prose poetry. This collection masterfully combined rural narratives with earthy surrealism, forging a unique connection between imagination and reality unlike anything seen in traditional Arabic poetry.

Abi Shaqra believed that poetic form was the essence of the poetic experience and that structure gave a text its power and significance. During his 35-year tenure as cultural editor at the Lebanese newspaper An-Nahar, he quietly played a transformative role in refining and reshaping texts, becoming a crucial cog in the evolution of modern Arabic poetry, although he never formally got the recognition he deserved. His editorial influence extended to iconic works like Rain Song (Unshudat Al-Matar) by Badr Shakir Al-Sayyab, demonstrating his profound understanding of the intricate relationship between form and literary substance.

His final collection, You and the Fingertip Caress Their Waists, published in 2022, represents the pinnacle of his poetic journey. These poems exude a striking intensity, achieving a delicate harmony between spontaneity and profound depth. They encapsulate his poetic vision, which remained firmly rooted in its origins while consistently evolving and renewing itself with each successive work.

Beyond his role as a poet, Abi Shaqra was a cornerstone of the modern Arab cultural landscape. He played a key role in founding Shi’r magazine—a pioneering platform for poetic modernity—and left an enduring impact as a cultural editor, writer, and shaper of contemporary Arab culture.

Zahir Al Ghafri

Zahir Al Ghafri, who passed away on 21 September 2024, was a prominent figure in prose poetry from the Arabian Gulf and a leading voice in modern Arabic poetry. Born in 1956 in the Omani village of Sarur, his upbringing was steeped in the tales of the sea and his father’s trading voyages to India and Basra. These early experiences imbued Al Ghafri with a profound sense of travel and introspection, themes that became hallmarks of his poetry, seamlessly intertwining personal reflection with universal resonance.

Al-Ghafri’s literary journey began in Baghdad, where he drew inspiration from celebrated poets like Badr Shakir Al-Sayyab and Saadi Youssef. However, he soon broke away from traditional poetic metre, embracing prose poetry as both an artistic and intellectual pursuit.

His time in Baghdad marked the start of a life defined by wandering, leading him to Morocco, where he studied philosophy at Mohammed V University, lived in Tangier, and then onward to Paris, New York, and finally Sweden. These cities were not merely stops along his path but crucibles that refined and shaped his poetic vision. For Al-Ghafri, travelling was an existential state, a profound experience that reverberated through his poetry, rendering it increasingly open and attuned to the world.

Al-Ghafri's poetry is notable for its affiliation with the second modernist movement, which emerged in the late 1970s. This movement favoured everyday language, devoid of rhetorical embellishment and dramatic intensity, providing a foundation for poetry that engages with real-life experiences with sincerity and transparency.

His debut collection, White Hooves (Azlaf Bayda’, 1983), showcased his talent for breaking and reshaping poetic conventions in innovative ways. Subsequent collections, such as Isolation from Night (‘Uzla Tafeed ‘An Al-Layl, 1993) and Flowers in a Well (Azhar Fi Bi’r, 2000), explored themes of time, memory, and wandering. In one poignant poem, he wrote:

"In a distant land,

I hear a lament for myself,

As if fate were rewinding,

Back to the land of storms."

For Al-Ghafri, prose poetry was a space of experimentation and freedom, a rebellion against traditional forms and fixed structures. In his final years, he endured a long battle with illness, including a liver transplant. Despite these challenges, he remained steadfast in his passion for life and poetry. He chose Sweden as his final destination, a place where he found a tranquillity that resonated with his restless, wandering soul. Just days before his passing, he posted a cryptic message on Facebook hinting at betrayal, yet he stayed devoted to writing, embracing it as his ultimate refuge.

Kais Al-Zoubaidi

Kais Al-Zoubaidi, an Iraqi filmmaker and writer who profoundly influenced Arab cinema, passed away on 1 December 2024 at the age of 85 after a remarkable life spent between Baghdad and Berlin.

Born in Baghdad in 1939, Al-Zoubaidi’s passion for cinema emerged during his studies at the Babelsberg Film School in Germany. There, he earned a diploma in montage in 1964 and another in cinematography in 1969. This academic foundation served as a gateway to refining his cinematic vision, with montage becoming his philosophy for constructing and organising meaning.

Over the course of his career, Al-Zoubaidi directed more than 12 documentaries, with landmark works such as Far Away from Home (1969), Homeland of Barbed Wire (1980), and Palestine: A People’s Record (1984). These films offered visual and human documentation of the Palestinian cause, employing the camera as a powerful tool to convey both the resilience and the anguish of a displaced people.

In his debut film, Far Away from Home, he portrayed life in Palestinian refugee camps with an intimate and transparent visual language. By positioning his camera at children's eye level, he brought viewers into their daily lives, struggles, and aspirations. Another milestone in his career was his 1974 narrative film Al-Yazerli, based on a short story by Hanna Mina.

He co-founded the Palestinian National Film Archive in collaboration with the Federal Archives in Berlin, preserving the history of Palestinian cinema as a vital part of the cultural struggle. His critical and academic works, including Palestine in Cinema (2006) and Documentary Film: Realism Without Banks (2017), have become foundational references for exploring the intersection of cinema and politics.

One of his most notable works, The Freedom Giver (1987), which was recently restored and re-screened, stands as a powerful testament to the struggles of Palestinian and Lebanese resistance against Israeli occupation.

Safeya Binzagr

Born in 1940, Safeya Binzagr, who passed away on 12 September 2024, grew up in the Al-Sham neighbourhood of historic Jeddah—a place that left a lasting visual and spiritual imprint on her work. As a child, she keenly observed and captured the details of daily life, drawing inspiration from Jeddah’s narrow alleys, stone houses, and intricately decorated windows. This rich imagery became the foundation of her lifelong artistic vision. Her family’s move to Cairo in 1947 further deepened her connection to her heritage, which would later serve as the cornerstone of her creative journey.

Binzagr completed her schooling in Cairo before studying at the Finishing School in Britain. She later attended Saint Martin’s School of Art in London, where she honed her skills in painting and graphic arts. These experiences refined her technique while preserving her deep connection to her cultural roots.

When she returned to Jeddah in 1963, she found her city undergoing rapid transformation. Determined to preserve its disappearing heritage, she turned to art as a means to reclaim the lost past and document the cultural essence of the city.

In 1968, Binzagr held her first solo exhibition at Dar Al-Tarbia Al-Hadetha School in Jeddah. At a time when art galleries were nearly non-existent, she demonstrated remarkable courage and determination by organising the exhibition herself. The event was a resounding success, paving the way for numerous local and international exhibitions.

Binzagr showcased her work in cities across Saudi Arabia, including Riyadh, Jeddah, Dhahran, and Abha, and participated in exhibitions in Paris, Geneva, and London. Through her paintings, which vividly documented the details of daily life, she brought Saudi heritage to the attention of a global audience.

Among her most celebrated works, Al Zaboon (The Customer) stands as a cornerstone of Safeya Binzagr's artistic career. This painting, portraying a woman in traditional Hijazi attire, has become an iconic representation of Hijazi cultural heritage. Binzagr painted it four times in her pursuit of perfection, capturing the essence of a woman embodying both dignity and modesty.

In addition to Al Zaboon, her paintings documenting traditional folk dances in Saudi Arabia are particularly noteworthy. One of her most ambitious projects was a 12-meter-long mural inspired by Michelangelo’s Sistine Chapel.

In addition to her exhibitions and numerous awards, Binzagr established the Darat Safeya Binzagr in 1995. This cultural centre housed her studio, library, and extensive art collections. Through this centre, she organised workshops and art competitions for children and youth, including the Al Sanbook, Al-Qandil, and Al Sharba competitions. These initiatives aimed to inspire younger generations to engage with and preserve their cultural heritage.

Binzagr authored two significant books: Saudi Arabia: An Artist’s View of the Past and A Three-Decade Journey with Saudi Heritage, both of which document the Kingdom’s heritage from her unique artistic perspective. She also dedicated ten years to her final book, Darzah—a meticulous study of Saudi traditional fashion, capturing its finest details. Published in Arabic, English, and French, Darzah serves as a vital reference on Saudi attire.

Through her efforts, women’s art gained a prominent place in the Saudi visual arts scene. Her heritage-inspired works transcend rigid tradition, offering dynamic reinterpretations imbued with emotion and vitality. Her distinctive style, blending realism with fantasy, has established her as a symbol of modernity deeply rooted in tradition.

Hussein Madi

On 17 January 2024, Lebanese artist Hussein Madi passed away at the age of 86, leaving behind an extraordinary artistic legacy deeply intertwined with the nature of his southern Lebanese village, Shebaa, and the formative journeys he shared with his grandfather. These experiences nurtured a profound relationship with nature—one that transcended a mere connection to place and became the foundation of his creative philosophy: that art is an act of discovery, revealing the dimensions, patterns, and relationships inherent in nature.

Madi—who firmly believed that the artist does not create but discovers—devoted his life to reinterpreting nature’s revelations through a distinctive vision that masterfully balanced simplicity and complexity.

Growing up in an environment rich with vibrant colours yet tempered by the harshness of nature laid the groundwork for Madi's artistic journey—a journey that consistently drew inspiration from those formative moments of awe and discovery.

He studied art at the Lebanese Academy of Fine Arts from 1958 to 1962 before moving to Rome, where he spent two decades immersing himself in diverse artistic techniques, including painting, sculpture, fresco, mosaic, and graphic arts. During this period, he also conducted extensive research on Arab and Islamic cultural heritage as well as ancient Eastern civilisations.

This transformative time in Rome sharpened his artistic tools, allowing him to infuse his works with a global perspective while preserving their deeply local and Eastern essence. In the late 1980s, Madi returned to Beirut, where he continued his career, contributing richly to the Lebanese and Arab art scenes.

Madi was inspired by global icons such as Picasso and Matisse, yet his engagement with their work went far beyond imitation. He synthesised their influences into a uniquely Eastern Arab framework, weaving formalism with aesthetic values. His art remained deeply rooted in the natural and spiritual origins that defined his vision.

This distinctive approach won him international recognition, with exhibitions in esteemed institutions such as the British Museum in London, the Ueno Royal Museum in Tokyo, and the Sursock Museum in Beirut.

For Madi, nature was an eternal reference, yet he did not merely replicate it. Instead, he sought to rediscover its essence through an artistic process demanding patience, effort, and continuous learning. He viewed nature not as random but as a precise system of patterns and structures requiring exploration and reinterpretation.

This perspective was evident in his works, which employed deliberate and engaging repetition. By continually reimagining foundational elements in innovative ways, Madi preserved the spirit of the original while adding new dimensions to his art.

Helmi El-Touni

With the passing of artist Helmi El-Touni in September 2024, Egypt and the Arab world bid farewell to one of the most influential pioneers of visual art, whose work shaped the artistic sensibilities of generations. Born in Beni Suef in 1934, El-Touni embarked on his artistic journey at an early age, firmly believing in art as a tool for preserving identity and celebrating Egypt's cultural heritage. His unique style, which seamlessly blended tradition with modernity, produced a body of work that vividly reflected the spirit and individuality of Egyptian society.

El-Touni’s career was diverse and impactful. He began with oil painting and stage design, graduating from the Faculty of Fine Arts in Cairo in 1958. He later joined Dar Al-Hilal as an illustrator, eventually becoming its art director. During his tenure, he designed over 4,000 book covers, including covers for significant literary works, most notably those of Naguib Mahfouz. His first collaboration with Mahfouz was the cover for Midaq Alley, where El-Touni’s distinctive visual interpretation brought the novel’s themes to life.

Beyond book design, El-Touni created hundreds of paintings inspired by Egyptian folk heritage, depicting daily life through a style that combined popular symbols with vibrant visual imagination. Egyptian women were a central theme in his work, often portrayed as symbols of love, fertility, and strength, with references to historical figures like women of ancient Egypt. His use of symbols such as fish, swords, and flowers infused his paintings with layers of meaning, making them rich in symbolic expression.

El-Touni also made significant contributions to children’s literature and illustrations. His work appeared in popular magazines such as Samir and Mickey, and he served as layout editor for the magazine Cinema and Theatre. Additionally, he collaborated with Salah El-Sakka on puppet theatre projects.

Throughout his career, El-Touni held numerous exhibitions both locally and internationally. Among his notable shows was the Long Live Love exhibition at Picasso Gallery in Cairo in March 2024, alongside exhibitions in Beirut, Geneva, and London. His paintings are housed in major museums, most notably the Museum of Modern Egyptian Art in Cairo.

Fathi Ghabin

Born in 1947 in the village of Hiribya, north of the Gaza Strip, Palestinian artist Fathi Ghabin lived a life shaped by the 1948 Nakba, enduring forced displacement and growing up amidst the alleys of the Jabaliya refugee camp. From the first tent of exile to another that witnessed his death, Ghabin’s life became a poignant embodiment of the Palestinian catastrophe. Through his art, he resisted cultural erasure and revitalised Palestinian identity.

Despite the hardships of exile and being deprived of formal education, Ghabin discovered his artistic talent at a young age, using charcoal to sketch on the walls of the refugee camp. Nurtured amid poverty and suffering, his gift developed through inspiration drawn from his surroundings and from cinema. His beginnings were far from easy. His artistic journey began with commercial art to sustain his livelihood, but he quickly transitioned into a self-taught artist, refining his craft through experimentation and passion.

Ghabin’s work was deeply rooted in the lived experiences of Palestinians, vividly depicting life in the camp, the village, and the faces of refugees, all reflecting their struggles and resilience. In 1978, he created his first significant painting, Palestine’s Tragedy, portraying a haunting scene from the 1967 occupation of Gaza—a child nursing from his mother, who lay dead beneath the rubble. This powerful work marked the beginning of a series that led to his arrest and interrogation by the occupying forces, who saw his art as incitement to resistance.

His 1983 painting, Nationality, cemented the symbolism of tools of popular resistance, such as the slingshot and the keffiyeh. It was later regarded as a prophetic work that anticipated the First Intifada, which erupted a few years afterwards.

Throughout his life, Ghabin received numerous awards and honours, including the Order of Culture, Science, and Arts from the Palestinian Presidency, the Hiroshima Award, and the World Federation of Societies Medal in Tokyo. In 1993, he was named "Palestine Artist," in 2023, he received the Palestinian Press House Appreciation Award. These accolades recognised a decades-long artistic journey in which he participated in hundreds of Arab and international exhibitions and co-founded the League of Palestinian Artists.

Ghabin's tragedy extended beyond the occupation to the siege that denied him access to medical treatment outside Gaza. In his final days, he appeared in a poignant video, pleading simply for the ability to live, saying, "I just want to breathe." Despite local and international solidarity campaigns to secure his treatment, he remained trapped in Gaza until his passing in February 2024.