1934-1950
HIS YOUTH AND THE DISCOVERY OF ART
Stelio Scamanga, greek of origin, was born in Damascus.
He began to draw and paint at the age of thirteen. Gifted in both fields, he was encouraged to paint by an english vincentian father who was also a painter in his spare time. At the French school in Damascus, where he learned English, French and Arabic.
At the age of 16, Stelio and his family moved to Beirut.
His Eastern Greek heritage places him at the threshold of the Orient: a multifaceted identity, that has always made him sensitive to the Eastern vision of Catholicism and the icon, while simultaneously nourishing him with the Greek foundations of Western culture.
1951-1959
ARCHITECTURE STUDIES AND TRAVEL TO PARIS
In 1960 he graduated in architecture from the American University of Beirut (AUB).
In 1959, as part of his studies at the AUB, Stelio did an internship in Paris. He spents his free time at the Louvre and l'Orangerie. Alongside his internship in Paris, he painted a series of canvases, including one of his famous paintings of the Pont des Arts. These paintings were subject of his first personal exhibition at the UNESCO Palace, in Beirut.
He went to in Aix-en-Provence to follow the footsteps of Cézanne, he even headed outside the city to admire the Sainte-Victoire Mountain and standed at the exact place where Cézanne used to set up his easel.
These 2 month trip gave him the opportunity to travel accross Europe, he visited Venice, Florence and Athens.
Stelio in Paris, Pont des Arts
1960-1964
FIRST SOLO EXHIBITION AT GALLERY ONE
HE WRITES THE MANIFESTO “Towards a new space: abstract perspective”.
Stelio was the first artist to exhibit his paintings, at the opening of Gallery One in Beirut in 1962.
From 1964 onwards, he made a name for himself on the Beirut scene by showcasing his abstract arabesque motifs. It was during this period, at the age of 30, that he published a major text: his manifesto, Toward a New Space: The Perspective of the Abstract. In it, he explains the fundamental differences in vision between the Renaissance perspective of the West, which he describes as “Albertian”, and the more spiritual and interior abstraction of the East.
Twice in a row (in 1967 and 1968), Stelio wons the painting prize from the Sursock Museum in Beirut At the same time, Stelio and four colleagues founded the architectural firm called "GROUP FIVE."
1965-1970
BEIRUT AND THE GOLDEN SIXTIES
Beirut eventually became the arts capital of the Middle East, and artists, writers, and intellectuals from across the Arab world flocked there for its vibrant culture and the prevailing freedom of thought.
Stelio occupied a preeminent position in the “Golden Sixties” through the emergence of an entire generation of local, modern artists.
Together with Mounir Najem, Stelio launched the first collective of Lebanese artists seeking their own identity, their own independence. Testifying to his importance on the Lebanese scene, many of his works are part of the Sursock Museum’s collection, the modern and contemporary art museum in Beirut.
With and among the members of this collective: Yvette Sargologo, Nadia Saikali, Mounir Najm, Assem Stetie, Helen Khal and Mohamad Sakr.
Several other personal exhibitions followed at Galerie l’Amateur and Galerie One in Beirut.
And numerous group exhibitions in the 1960s-1970s, in collaboration with Mounir Najem, Said Akl, Helen Khal, Wajih Nahlé, and Mohammed Melehi, famous artists from the Arab world.d.
Stelio with Louis Amstrong at one of his concert in Beirut.
1971-1977
CONTRACT WITH GALLERY ONE
Stelio completely mastered his artistic creativity and held a series of exhibitions.
In February 1970, he signed his frst artistic collaboration contract with Gallery One, and thus had the freedom to devote himself solely to his work.
Together with the artists Nadia Saikali, Yvette Achkar, Mounir Najem.
The artist and art critic Samir Sayegh, in his article published in 1971, listed Scamanga among the 3 artists who were part of the “oriental abstraction”, with Mounir Najem and Adel Saghir.
His paintings produced during this period and entitled “Composition” and “Arabesques”, remain today without a doubt, classic works of oriental abstraction. Whose major influence has left its mark until today.
At the same time, he founded and co-directed the architectural office “Group 5” in Beirut until 1975.
Stelio at Gallery One with Youssef el-Khal, Nadia Saikali, Yvette Achkar and Mounir Najem.
1978-1985
INTENSE PERIOD OF CREATIVITY & COUNTLESS TRIPS BETWEEN EUROPE AND THE MIDDLE EAST
The war destroying Beirut forced him to look for other roots that he would transcend throughout his life. Stelio Scamanga then left Lebanon for Switzerland then France.
At the same period, he founded the design office "Art And Design Consultants" in Geneva. His activity as an architect and art consultant led him to direct, between 1980 and 1995, a major campaign aimed at integrating around hundred works of Arab artists in public buildings in Saudi Arabia. Among these artists: Mohammed Melehi, Nja Mahdaoui, Farid Belkahia, Said Akl, Wajih Nalle, Abdallah Hariri, Ahmed Shibrain.
1985-1995
STELIO COMPLETELY MASTERED HIS ARTISTIC CREATIVITY AND HELD A SERIES OF EXHIBITIONS IN NEW YORK AND EUROPE
The family moved next to Geneva.
From 1985 to 1995, Stelio devoted his days to art consulting and spent all his evenings painting, never allowing himself a break. Then, he exhibited for the first time in Europe: at the E. Kroner gallery in Zurich. And the thirty paintings on display where sold within the following week.
During this decade Stelio exhibited several times in New York at the Reece Gallery, Munich and Dusseldrof at the Kroner Gallery. As well as in Paris, Zurich, Geneva and Stockholm.
1996-2010
A NEW WORKSHOP IN PREVESSIN TO BRING NEW PROJECTS TO FRUITION
In Prevessin, Stelio had a large workshop where he could produce very large paintings, work quietly to the sound of classical music.
Avid for knowledge and inspiration, long stays abroad gradually become an habit.
Thus, in order to uncover the secrets of the frescoes of the great Renaissance artists, no Tuscan church is overlooked: Florence, Siena, San Giminiano, Montepulciano, Arezzo, Borgo San Sepolcro, Urbino, Ravenna, Mantova, Padova, Ferrara, Faenza, Perugia, Assisi, and other cities brings Stelio unspeakable joy.
Then, still in Italy, comes a discovery that will prove to be crucial for Stelio: the immense work of Piero della Francesca… Stelio's passion for Piero's art would later be decisive in the creation of seven large-scale polyptychs in tribute to Pierro.
In 2008, the immense Pierre-Jacques Hall in Versonnex hosted these large scale polyptychs.
2001
HE CREATED A MONUMENTAL SCULPTURE NEARBY GENEVA
In 2001, Yann, Stelio's son, suggested to his father the idea of drawing inspiration from the two rings, nine and seven kilometers in diameter respectively, which are used for experiments carried out by scientists and researchers at the European Center for Nuclear Research nearby Geneva, where Stelio lives.
Enthralled by his son's idea, Stelio seized his idea. He set to work and imagined the two rings: nine and seven meters in diameter, and twenty centimeters in circular section, connected at the ends and interlocking.
And as for the material, he opted for polished stainless steel. The municipality accepted father and sons project. This monumental sculpture "les anneaux du CERN" was then built and installed in 2001.
Thus, Stelio's dream of overcoming Earth's gravity was realized in this weightless work.
2007
HE CONTNUES ITS ASCENT
In 2007, exhibitions were dedicated to him at the Mimesis Gallery in Geneva, and the Grancy Gallery in Lausanne.
2011-2021
HE EXPRESSES HIMSELF IN GREAT STYLE, AND DEVOTED HIMSELF SOLELY TO HIS WORK
A prolific period during 2011 and 2021. Stelio produced, during that decade, more than 250 oils on canvas, works on paper and washes, in his worshop nearby Geneva.
2021
HIS LAST MAJOR PROJECT : ULTIMATE ABSTRACTION
In 2021, he completed the last of the 23 canvas of his project named : "Ultimate abstraction".
2021
DEATH OF THE PAINTER
Stelio Scamanga died on the 14th of December 2021.
He never stopped painting until his last day. Campaigning for an abstraction without psychological filter or narrative,.