Ezekiel Baroukh was born in Egypt in 1909. After the end of his studies at the French Lycée of
Alexandria, he goes to Rome where he gets diplomas in painting at the Academy of Art.
Back to Alexandria as a professional painter in 1934, he creates a drawing course and works at a lot of portraits, landscapes and still lives.
As soon as 1935, an exhibition at the Italian Society of Alexandria as well as another one at Cairo Art Show reveal the young painter's often strange atmosphere, the clarity of his execution and the profusion of his colours. The artist appears in search of the expression of every life form.
He becomes a Member of the Studio Committee « Alexandrian Artistic Group » and contributes to the organization of artistic events that take place there from 1940 to 1946.
It's the time when he strikes up a friendship with Laurence Durrell and Etiemble.
The exhibitions which he has been taking part in for all these years, as well in Alexandria as in Cairo (the Studio Art Show in Alexandria in 1940, 43, 44, 45 – Cairo Art Show in 1941, 42, 43 etc.) emphasize the assertion of a personality which has known how to combine the flesh aspect of sensuality with the more abstract image of mental representation to achieve both real and mysterious works which reveal the inner universe of the most imbued with emotion and reserve painter.
But these activities won't do for him. Urged by his own painting evolution and the need for being confronted with the great after-war pictorial trends, Baroukh leaves Alexandria to Paris in 1946.
He becomes involved in the path of abstract art, moves in artistic circles in Paris, but in provinces too, especially in Châteauroux in 1948-49 where he gives lectures and a lot of exhibitions.
This town Museum owns one of his abstract canvasses.
He takes part in the 1952 May Show, notably with André Lhote.
In 1954, he is back to Alexandria for an exhibition, then to Cairo. Both Museums of these towns keep numerous canvasses of the painter.
It's the Soft Geometry Cubism period.
During the following years, he'll be taking part in group exhibitions in provinces (Châteauroux 1956 – Deauville, Museum of The Fine Art), next in June and October 1958 in Paris at the « A.G. Gallery », University street. His painting is evolving towards Graphic Art.
It's concerning the artist's new exhibition at the A.G. Gallery in 1959 that Etiemble speaks of him as the « artist friend ».
Maurice Nadeau is interested in this new style, called informal, a connection of volumes between indistinct shapes.
In 1961, an informal canvas (100 figures) is purchased by the French state at the Biennial of Conches.
There will be few canvasses, but very numerous gouaches in the following Lyric Gestural period. At this time, the artist shows at the St Germain Gallery exclusively.
The painter's evolution is going on towards Masrered Gestural painting in which he will only be using black and white for two years.
Then Baroukh feels the need of colour again. He will be progressively using more and more strong colours and large canvasses sizes which will result in the 1967 exhibition at gallery 9, Fine Art street. Paris city Council will acquire a canvas there.
From this time on, a long perturbed period is starting which testifies to the introspective advance of the artist who breaks off with Abstract Art. In 1970, he is looking for a new vocabulary towards simplification (Apples, bottles...).
This period is significant through its intricacy (an attraction for violence but for fineness too) and its
execution (density of matters, à plats (?), shades moving away from apparent reality).
It's a phase throughout which it's interesting to notice the influence of the rough sketches from life sittings done every morning in a café of Daguerre Street at Denfert (Paris).
Human will definitely be present and one of the painter's main concern will be for integrating the distortions stemming from his rough sketches (his day after day written down caricatures) in his paintings as well as in the making of drawings that will be lining this period, the richness of expression of which rivals the evocation of human frailty and pathos.
Just refering to the painter's C.V., his presence at the different shows in Paris as well as at many exhibitions in provinces can be noticed.
In 1980 he becomes a Member of the Autumn Show where he exhibits for the first time (painting entitled : Woman Getting Undressed).
In 1982, he exhibits at the first Biennial of the 13th district at the Salpêtrière.
In 1983, new exhibition with the Group of the 109 at the Grand Palais.
In 1984, last gratification, the Contemporary Art National Foundation acquires a canvas : The Model.