Palestinian Cities In Vibrant Colours: Meet the Artist Rawan Anani

by Alexandra Mansilla

Palestinian Cities In Vibrant Colours: Meet the Artist Rawan Anani

22 Jan 2025

Bright houses, vibrant people, and breathtaking landscapes — this is how Palestinian artist Rawan Anani, an artist from Al-Bireh, sees her homeland. For Rawan, no matter what happens, everything still remains bright, lively, and full of beauty. Through her art, she brings to life the essence of her homeland, capturing its vibrancy and spirit. But why does she choose to depict it this way? Here is her story.

— Hello Rawan! You are from Al-Bireh city in Ramallah. Could you tell us more about your childhood? Even about the house you grew up in?

— I spent my childhood in the city of Al-Bireh, and it was a beautiful, innocent time of my life that I cherish deeply. We played outside a lot with the neighbours’ children, and I spent hours enjoying my favourite hobby — riding my bike around the house. My father would often take us for walks in the mountains to pick oregano, which my mother would use to make her delicious homemade pizza.

During the Intifada, the people would gather at our house every day, sharing meals that my mother and the neighbours had lovingly prepared. I vividly remember my father playing chess every evening with the neighbours in his studio. When the schools were closed during the Intifada, the neighbours came together and opened a school in one of the empty houses in the neighbourhood.

My mother and some of the neighbours taught the children core subjects, while others decided to plant vegetables in a nearby plot of land for the neighbourhood to share. We would water the plants together, and those days remain some of the most beautiful memories of my childhood.

I also loved spending time in my father’s studio, drawing and watching him work on his artistic projects. We followed his creative process day by day, and it left a lasting impression on me.

Women of Ramallah (2024) by Rawan Anani

— You have said, “I never dreamed of being an artist; I studied something else and worked for a while.” What did you study? And where did you work?

— I didn't actually study art. I studied office administration at Ramallah Women Training Centre for two years; then I worked at an organization called PECDAR. I loved my job very much, as I was the private secretary to the director of the organization at that time, Dr. Mohammed Shtayyeh.

— Your father is an artist, too, and the one who helped you get started with art, right? Can you tell us more about him?

— My father is a well-known Palestinian artist with a beautiful and distinctive style that incorporates various materials into his paintings. He paints on skin and canvas, using oil and acrylic paints, and often adds unique elements like copper, wood, spices, straw, and other materials to his work.

His art focuses on Palestinian heritage and women, and it has been the greatest influence on my own artistic journey.

I have followed his work since I was young, watching him paint and learning from him. He always encouraged me to paint, providing me and my siblings with everything we needed — paints, paper, and other tools. During summer vacations, he would take me to children’s art workshops to help me develop my skills in this field.

His studio, which is part of our house, has always been my favourite place — and it still is. It is filled with every colour you can imagine, along with painting tools, brushes, and even a large kiln for pottery and ceramics. His paintings are hung all over the walls, creating a beautiful and peaceful space.

Rawan with her parents. Photo: Rawan's personal archive

— Your mom is also an artist. Could you tell us more about her and her paintings?

— My mother, may God have mercy on her soul, loved art deeply. She used to teach art to elementary school students at UNRWA schools and brought her artistic touch into our home. She was the one who chose my father’s paintings and hung them in the house.

Before she got married, she painted as well, and some of her works are still at my uncle’s house in Qalqilya. After marrying, she stopped painting to focus on caring for the family, but she was always the one who encouraged me to keep painting.

— So, you mentioned that your dad’s art had a significant influence on your work. Could you elaborate on that?

— Yes, I consider my father’s work to have had the greatest influence on my entry into the field of art. My mother was always very encouraging and would give me feedback when I was just starting out. When I decided to begin drawing, I would create a painting and then send a picture of it to my father to hear his thoughts. His guidance helped me improve my skills and learn more about the craft.

When I was younger, I used to imitate drawings of my father, often sketching women carrying vases on their heads.

The artistic elements in my current paintings are very similar to those in my father’s work, but they reflect my own style and identity. While the elements remain the same, I take pride in having developed my artistic identity inspired by his art.

— Do you remember the very first artwork you felt proud of?

— It was an acrylic painting on canvas — a landscape featuring almond trees in spring. The view was stunning, with shades of green and white capturing the almond blossoms and hues of blue depicting the sky and the sea. It was a large piece, measuring one meter by one and a half meters. I loved this painting so much and felt incredibly proud of completing it. It took a lot of time and effort, but the result exceeded my expectations. That painting is now in a house in New York.

— The bright cities of Palestine you paint are absolutely stunning. Do you remember the moment you decided to start your artistic journey by painting cities? Why did you choose cities?

— I wanted to focus my work on Palestinian cities because I deeply admire the distinctive Palestinian buildings and houses, which are rich in beautiful architecture and authenticity. Additionally, I noticed a gap in Palestinian art — there aren’t many works that highlight our cities. I wanted to show the world the beauty of these cities and their famous elements, like fruitful trees and unique natural landscapes.

As you know, there is a generation of Palestinians living all over the world who have never had the chance to visit our cities. Through my paintings, I aim to capture and preserve the essence of these cities, ensuring they remain alive in our minds and memories forever.

— You started your art journey in 2013 — 12 years ago. Can you already divide your journey into different periods? How would you describe each of them?

— I started drawing in 2013, beginning with canvas as my medium. At that stage, I was searching for my artistic identity. I created many paintings on canvas, some representing Palestinian heritage and others exploring abstract styles. I was determined not to give up and insisted on developing a unique identity. That period was about forming my artistic personality.

Eventually, I decided to experiment with paper. I created paintings on paper that resembled Picasso’s overlapping faces, and I fell in love with watercolours — their bright, beautiful hues captivated me. I chose to focus on watercolours instead of acrylics and transitioned fully to drawing on paper. I felt at home with this medium.

At that point, I decided to focus my work on Palestinian heritage, later expanding to cities and Palestinian women. By 2016, my artistic identity had crystallised, and I committed to painting Palestinian cities and women, a focus that continues to this day. Over time, my style has evolved, incorporating new artistic touches and ideas that enrich my work.

Sisters — Sea of Jaffa (2024); Ramallah (2024); Mother & Child Bethlehem (2024) by Rawan Anani

— Which painting is the most special to you? Why?

— My most special painting is one I created about Gaza during the war. It is called Empty Arms, and it represents Palestinian mothers who have lost their children. I depicted empty arms to convey the deep pain of losing their most precious loved ones — their children. This painting was profoundly moving, not just for me but also for my followers.

Empty Arms (2023) by Rawan Anani

— You are known for using warm, bright colours that are captivating to the eye. Do you have any other paintings that are completely different — ones you haven’t shown to the world?

— I think the ones I created at the very beginning of my journey — paintings on canvas. I didn’t publish them; they were of horses and nature. Some of these paintings I gave as gifts to friends, while others I hung in my house. When you are just starting out, you experiment with drawing many different subjects, and it is through this process that you begin to discover yourself as an artist.

— I know you were asked this question, but let’s give an explanation to our audience: Why do the women in your paintings have no faces?

— I don't draw facial features of women because this is simply the artistic style that distinguishes me from many artists. If I added eyes and noses, this style wouldn't be recognised. This is my artistic identity that I created for myself and I am proud of it.

— How would you describe your art in three words?

— Colourful, artistic, emotional.

Lebanon (2024) by Rawan Anani

— You moved to Beirut and later to Canada, where you currently live. When and why did you decide to make those moves? And have there been other moves or places you have lived that we might not know about? If so, we would love to hear about them.

— When I got married, my husband and I immigrated to Canada. We lived there for more than five years. Then, my husband got a job opportunity in Saudi Arabia, and we moved there. We lived there for more than 11 years and had children. We decided to return to Canada to settle down with our children. My husband is Lebanese, so we visit Lebanon from time to time.

— You have painted Beirut, too, right?

— Yes, I have painted Beirut on several occasions, though they were tied to sad events. After the port explosion, I painted Lebanon, and more recently, I painted Beirut again when the war broke out. Some of my Lebanese followers even asked me to create custom pieces about Lebanon.

— Could you tell me more about this painting, My Mother?

— “I Long for My Mother’s Bread, My Mother’s Coffee, Her Touch” is the name of the painting, inspired by a verse from Mahmoud Darwish’s poem “I Long for My Mother’s Bread.” The poem beautifully expresses his longing for his mother and the innocence of his childhood.

I wanted to bring this poem to life through my painting, as its words resonate deeply with everyone, carrying a universal and profoundly human meaning. And when you hear the amazing singer Marcel Khalife perform it, you can’t help but fall in love with its words even more — it is truly unforgettable.

My Mother (2024) by Rawan Anani

— You have two daughters! How old are they? Does either of them want to be an artist?

— My daughters, Sarah (16) and Celina (13), both love drawing, and I can clearly see their passion reflected in their work. I always encourage them, and my father notices their talent too — especially my eldest daughter, who is incredibly creative in her drawings. She enjoys creating small pictures and proudly hangs them in her room.

by Alexandra Mansilla