Biography
Nobody ever expected an illiterate and self-taught woman like Chaibiya Talal to rise to such prominence as an artist in Morocco or abroad. Before her, the only Moroccan woman who had ventured into art was Maryam Meziane, from a bourgeois background. Chaibiya emerged when Morocco's young art movement was striving to break free from the cultural and visual effects of colonialism. Consequently, along with other self-taught artists, she faced criticism from artists associated with the Casablanca school, such as Farid Belkahia (1934–2014), Mohamed Melehi (1936–2019), and Mohamed Chabâa (1935–2013)), who viewed those "naive" artists as mere manifestations of neo-colonialism. However, this position would radically transform in the following few years. Chaibiya's foray into the realm of art inspired many other female artists to embark on a similar journey and follow in her footsteps, such as Fatima Hassan (1945–2010), Benhila Regraguia (1940–2009), and Fatna Gbouri (1924–2012), among others.
Chaibia Talal was born in the village of Chtouka in western Morocco and never had the opportunity to attend school. Following local customs, her family arranged a marriage with an older adult from southern Morocco when she was only 13 years old. Her husband died in a traffic accident only two years later, leaving Chaibiya with her son, Al-Hussein. Chaibiya chose not to remarry and instead worked as a maid in households, devoting herself to raising her son, who would eventually become a renowned artist.
Chaibiya's son, Al-Hussein Talal, displayed a talent for drawing from a young age and eventually established his studio, which is believed to have directly influenced Chaibiya's desire to paint. She recounts her entry into the art world as a tale that borders on legend. At the age of 35, she had a dream in which men, clad in white, appeared before her and bestowed upon her brushes and dyes. They suggested that henceforth, her artistic prowess would be unleashed through painting. The next day, she and her son bought a basic paint set typically used for painting doors, and thus she began painting, later switching to oil paints.
One day, the esteemed French art critic Pierre Gaudibert (1928–2006) visited Chaibiya, accompanied by two well-known Moroccan artists of the time, André Elbaz (1934–) and Ahmed Cherkaoui (1934–1967). She promptly showcased her work to them, after which Gaudibert helped her exhibit her paintings. Her first exhibition in Paris in 1966 was met with a warm reception. Chaibiya appeared on the exhibition poster as a shy young woman, as if emerging from the depths of the Moroccan desert.
Chaibiya's exhibitions continued, and her artworks garnered attention from renowned museums specialising in naïve and outsider art. The L'œil de Boeuf gallery owner in Paris signed a contract with her, and she began displaying her work there. In just a few years, Chaibiya became recognised as one of the most remarkable living Moroccan artists and a unique phenomenon in Arab art, alongside Baya (1931–1998) and Fahrelnissa Zeid (1901–1991). These three women had their work exhibited and celebrated by the Institut du Monde Arabe in Paris in 1990.
Chaibiya gained notoriety for her distinctive style of treating her subjects, drawing inspiration from daily life, childhood memories, and the natural world. While the works of Algerian artist Baya were associated with surrealism, Chaibiya's works were often aligned with the Cobra movement, which drew inspiration from folk arts. However, Chaibiya's style did not aim to disrupt established artistic conventions; rather, it emerged from her imagination and emotional states. Hence, this perceived convergence was no more than a coincidence, whereas the artists of the Cobra movement created their art through desire, will, perception, and intent.
Chaibiya's work manifested her emotions and vivid imagination (as she shared with her friend, sociologist Fatima Mernissi (1940–2015). Her artworks overflow with the colours of anemones and the delicate beauty of marguerite daisies, which she used in her youth to fashion garlands to adorn herself with.
Unlike contemporary "naive" artists, Chaibiya’s paintings and drawings strongly emphasised faces and movements, eschewing simplistic imitation. She focused on central elements in her scenes, disregarding detail, thus capturing the essence of the painting in one cohesive movement. As a result, her works resemble a vast and never-ending series of interconnected characters and faces, as if they were all completed simultaneously. She paid little attention to colour mixing or intricate shading, opting to preserve the primary colours imprinted in her memory and being. Emphasising this "choice," she declared, "I repeat myself. But that is important. I am a colourist. My colours express life and nature. I have never changed."
Chaibiya remained steadfast throughout her artistic journey, drawing inspiration from her experiences, visions, dreams, and surroundings. Her unique world is an independent island within the Moroccan and Arab art scene. It is simultaneously simple, revealing a fervent imagination and sophistication that defies even the most complex forging techniques. With this exceptional individuality, Chaibiya added a distinctive global dimension to Moroccan and Arab art. Her popularity led to her commemoration in Moroccan cinema through a biographical film about her life and youth released in 2015.
Until the end of her life, Chaibiya remained devoted to her artistic practice. During her final illness, she was recognised with a large retrospective exhibition at the Bab Al-Rawah National Hall, where people witnessed her trembling fingers at work. Her last painting was created during this time.
