In praise of the ‘art abode’
Building on familial foundations, Cyril Karaoglan has nurtured his passion for regional art over the years through forums that range from cultural expeditions to fun and insightful dinner-party conversations. Here, the well-known art insurance expert invites Ahmad Minkara into his Beirut apartment for a look at his impressive collection and to learn more about its origins.
Upon entering the exquisitely decorated apartment of the renowned French-Lebanese art collector Cyril Karaoglan, I have an immediate sense not only of his eclectic taste and well-documented passion for regional art, but also, clearly and somewhat surprisingly, his fascination with the colour blue, which I cannot resist asking him about.
“It’s true, I love every shade of blue, come to think of it… cobalt, azure, indigo, aquamarine, baby blue and midnight blue,” he admitted, reflectively. “I think it’s due to the large amount of time I’ve spent by the sea, from growing up in the south of France to the views I have from this apartment of the eastern Mediterranean.”
The apartment not only provides breathtaking vistas of the stretch of water that Karaoglan is referencing and describes as having its own “unique palette”, but also, on the other side, looks out onto the iconic Holiday Inn tower, a bullet-ridden reminder of both the Civil War and the architectural contrasts that are a hallmark of Beirut’s city skyline.
Designed by the renowned, Swiss-based international architectural practice Herzog & De Meuron Basel, the building that houses Karaoglan’s apartment is, itself, iconic and akin to a work of art. It is also, as expected, matched by stunning interiors inside the apartment, which are the work of Patrick Boustani. “I told Patrick to create a geometric interior with plenty of light, high ceilings and lots of art and ceramics,” Karaoglan said, explaining the remit he gave the brilliant Lebanese interior designer and architect.
While several of the pieces on display have been sourced in this way, many others have been amassed by Karaoglan over the years, reflecting both his longstanding love for art from the region and excellent eye.
The works in his collection range from eye-catching wall art and standout, standalone sculptures to beautifully crafted furniture and other collectibles, positioned with thought and care, throughout each room.
Keen to show me some of the highlights of his collection, Karaoglan introduces me to a delightful and delicate sculpture of a dove in metal by the Palestinian sculptor Abdul Rahman Katanani which has pride of place in one of the bedrooms. “I love the way that the material is seemingly in dialogue with the bird. The contrasts that are evident remind me of Italy’s Arte Povera movement,” he noted.
As we move from room to room, Karaoglan points out stunning furniture and design pieces, including a beautiful blue table by the architect and designer Georges Mohasseb, showcasing an exquisite vase by Nada Debs, in a perfect example of combined Lebanese talent. Debs’ vase also has a poignant backstory, having been created in pieces of glass that were broken in the August 4, 2020 explosion at the Beirut Port. Augmenting the overall look of the rooms and providing delightful finishing touches are ceramic pieces by several other Lebanese artists, including Nevine Bouez and Hala Matta. The walls of the apartment, meanwhile, are decorated with works that range from an uplifting painting of daisies and other flowers in glorious colour by the Lebanese-born, Buenos-Aires-based artist Bibi Zogbe, reminding us why she was given the nickname ‘La Pintura de Flores’, to a stunning and typically large-scale work by the theatrical Syrian artist Anas Albraehe.
In contrast and reinforcing the eclectic aspect of Karaoglan’s collection are paintings by the Palestinian-Lebanese artist Juliana Seraphim in her hallmark, surreal, ethereal style. Significantly, one of these is a portrait of Karaoglan’s mother, the well-known art connoisseur, collector and Beirut personality, Therese Rabbath Karaoglan. Titled ‘La Femme Orchidee’ and completed in a delicate light-pink hue, the painting depicts Therese emerging, fairy-like, from the petals of an unfurling flower.
The artwork also reminds us of Karaoglan’s deep-rooted familial links with the regional art scene and the way in which they have passed from one generation to the next. Indeed, Karaoglan himself has earned the nickname in some circles of the ‘Alain Delon de Beyrouth’, after the late French actor whose art collection sold for more than $8 million in 2023, the year before he died.
While Karaoglan’s personal art collection is impressive, it is for his expertise in the field of art insurance that he has become best known. He believes the recent burgeoning interest in art from the Gulf and MENA region can be largely traced back to the opening in 2008 of the Museum of Islamic Art in Qatar.
“The number of people who were collecting art in a big way across the region definitely began growing, leading to a corresponding rise in demand for art insurance,” he explained. Aware that Lebanon was ideally placed to act as a gateway between the GCC and Europe, Karaoglan made the decision to return to the country in 2010, having left during the civil war.
His return soon saw him fully immersed in the local art and culture scene, participating in and organising activities that included excursions to cultural spots like Byblos and Baalbek, and social gatherings. These lively events included fun dinner parties hosted by collectors such as Pierre and Claude Issa, and Philippe and Zaza Jabre.
“One party I’ll never forget was hosted by Daniele and Edgar de Picciotto,” Karaoglan said with a smile. “The entertainment included singing and dancing from the Lebanese pop star Haifa Wehbe and whirling dervishes throughout the night. We were all transfixed.”
Alongside the fun, these and other events also provided forums for insightful conversations that opened Karaoglan’s eyes to the wealth of artistic talent across Lebanon’s art and design landscape. “The Lebanese design expert and philanthropist Cherine Magrabi-Tayeb, in particular, was instrumental in helping me to realise that the new generation of Lebanese designers were less influenced by Western styles than their predecessors, which gives them a truly distinctive identity,” he said.
Karaoglan also credits the gallery owner Saleh Barakat for his pioneering role in spearheading and supporting the regional art scene. “Saleh has a sharp eye for identifying standout art, but just as importantly, he develops and nurtures his artists,” he said.
Asked what advice he would give to the new wave of artists emerging on the regional art scene, Karaoglan is quick to highlight the importance of retaining an individual style without overthinking things. “I believe it’s critical to fully immerse yourself in your practice, but without focusing too heavily on identity politics,” he said. “Doing that defeats the purpose!”
On a personal level, he has an eye on another project a little farther afield - in Italy to be precise. “I’m thinking, perhaps, of a similar ‘art abode’ in Venice!” he said, with a smile.