Léon Tutundjian

Léon Tutundjian, "Sans titre", 1925-1926 ink and collage on paper 31 x 24 cm
Léon Tutundjian, "Sans titre", 1925-1926 ink and collage on paper 38,5 x 32 cm
Léon Tutundjian, "Visage d'or", 1925 gouache, watercolor and ink tinta on paper 27 x 21 cm
Léon Tutundjian, "Sans titre", 1926 ink on paper 20,5 x 15 cm
Léon Tutundjian, "Sans titre", 1926 ink on paper 21,5 x 17 cm
Léon Tutundjian, "Sans titre", 1926 ink and pencil on paper 16 x 11,8 cm
Léon Tutundjian, "Sans titre", 1927 ink on paper 21,8 x 16 cm
Léon Tutundjian, "Sans titre", 1927 ink on paper 21 x 16 cm
Léon Tutundjian, "Sans titre", 1927 watercolor and ink on paper 41,5 x 50 cm
Léon Tutundjian, "Sans titre", 1927 watercolor and ink on paper 39 x 50 cm
Léon Tutundjian, "Sans titre", 1927 oil on canvas 40 x 50 cm
Léon Tutundjian, "Sans titre", 1927 watercolor and ink on paper 50 x 63,5 cm
Léon Tutundjian, "Sans titre", 1929 oil on canvas 41,5 x 27,5 cm
Léon Tutundjian, "Sans titre", 1929 relief on pannel and metal 25 x 34,8 cm
Automatism and geometry, 1924-1929
February 14th - April 25th 2019

Galeria Marc Domènech is pleased to present an exhibition of works by Léon Tutundjian (Amasya, 1905 - Paris, 1968) with more than forty pieces between paintings, reliefs, collages, watercolors and drawings created between 1924 and 1929. This is the first individual exhibition dedicated to Tutundjian in Spain and focuses on one of the most important and fruitful periods of the artist.

Léon Tutundjian was an outstanding artistic figure of the interwar period in Paris. In fact, he was one of the most important artists in the consolidation of both organic and geometric abstract art produced during the transcendental 1920s and 30s. His work was truly admired by many of his contemporaries. Proof of this is a letter that Jean Hélion wrote to him in 1958: "I remember when we met, in about 1929, and how extraordinarily far ahead you were of others in our generation, both in your mentality and in your works. You impressed and influenced quite a few artists, some of whom are now well known, like Calder, for example, who admired you hugely (...). Van Doesburg spoke of you with the most glowing terms (...). Carlsund, and many others, as a result of your 1929 exhibition at the Galerie Bonaparte, considered you a master. Herbin liked you particularly."