01 work, Middle East Artists, THE ART OF WAR, Suleiman Mansour's The bride of the Homeland (Lina Al-Nabulsi*), with Footnotes #101

Suleiman Mansour

The bride of the Homeland (Lina Al-Nabulsi*), c. 1976

Oil on canvas

Painting confiscated by the Israeli government. The Palestine Poster Project Archives

On May 15, 1976 a 17-year-old Lina was shot and killed by an IDF soldier while walking home from school in Nablus.

According to the Jewish Telegraphic Agency, Israeli authorities stated that a stray bullet hit Lina when a soldier’s rifle went off accidentally. An investigation into the incident was ordered, with IDF forces reiterating their commitment to only use live ammunition when their own lives were in danger. More on this painting

Lina Nabulsi is an international student from Jordan. She is currently pursuing a dual degree program in Public Health and Global Policy. Lina worked for a while as a research executive, working on projects related to education, gender issues, and women’s and children’s health with well known organizations such as USAID, UNICEF, UNDP, and Abt Associates. She also did a short internship with Human Rights Watch in DC. Her main interests are in social development, poverty, refugee affairs, and the never ending conflict in the Middle East... The University of Texas at Austin

In his early years the painter, Mansour was jailed twice under the pretense that his works were inciting violence. “They didn’t tell me that I was arrested because I was an artist, but I think they wanted to intimidate me,” he said of the two-week-long interrogations. “They put a bag on my head; I was handcuffed behind my back; I was beaten, the same as what everyone else who is imprisoned goes through. I didn’t pose any threat in terms of security — they just didn’t like what we were doing.” Hyperallergic

Born in a little village near Ramallah in 1947, Suleiman Mansour maintained a great attachment to his native rural hometown and its customs, painting portraits of his relatives since his youngest age. In the 1970s, he took part in a thorough research project on the folkloric heritage of Palestinian culture, an initiative that profoundly shaped his subsequent active involvement in the Palestinian art movement. Preoccupied with the preservation and publication of traditional artworks, Mansour aimed to safeguard indigenous Palestinian culture while offering native forms of inspiration to new generations of artists and influencing contemporary art. More on Suleiman Mansour

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