On the occasion of its eighth international exhibition entitled Masters of the tondo, the Galerie Claude Lemand will display the paintings of 18 contemporary artists. Coming from different geographic, cultural and aesthetic backgrounds, they all chose Paris, London or New York as their capital of life, creation and international growing success, whether it be temporary or permanent.
Artists. Shafic Abboud, Pat Andrea, Assadour, Dia Azzawi, Farid Belkahia, Abdallah Benanteur, Mahjoub Ben Bella, Jorge Camacho, Saul Kaminer, Joël Kermarrec, Mohammad O. Khalil, Kim En Joong, Manabu Kochi, Bengt Lindström, Najia Mehadji, Mario Murua, Antonio Segui, Vladimir Velickovic.
History and Continuty of the Tondo
The use of the round format goes back to the origins of painting, both in the East and in the West. Beyond its technical and symbolical specificities and the variety of the tondo’s aesthetic and social functions, it furthermore encompasses all the trends of modern and contemporary painting.
It is true that many artists never felt the use or the attraction to explore this shape and some even loathe it, as they feel they cannot grasp it and instead, they need angles and marks. The tondo also destabilizes many amateur artists who wrongly assimilate it with the oval shape, sometimes used for bourgeois portraits. In the classical era, tondo painting corresponded in some instances to the constraints of architecture or interior design from public and private commissions.
However, from 1900 onwards, many painters were drawn by the tondo because of its ideal shape and its formal challenge in having to adapt oneself to its specific features, just like during the Renaissance period. Some have discovered through the tondo the revival of their art and the perfect channel for their artistic expression, by including in it concentric circles, an eye, a dish, a target, our planet seen from space…
In Europe, some of the most important masters distinguished themselves in tondo painting, from Jean Maluel (1400) to the painters of the Italian, Flemish and Dutch Renaissance, without omitting the great artists of later centuries, from Goya and Delacroix to Ingres with his iconic Bain turc, Monet with his signature Nymphéas (1907), Delaunay (1911), Picasso, Metzinger, Kandinsky (1923), Léger, Gleizes, Gorin, Bolotowsky, Herbin…
After 1940, a continuous re-emergence of the tondo took place, with Glarner, Pollock, Riopelle, Hantai, Zao Wou Ki, Villeglé, Stella, Télémaque, Rancillac, Wesselman, Tovar, Lichtenstein, Estève, Corneille, Doucet, Alechinsky, Viallat, Félix Gonzalez-Torres, Honegger, Belkahia, Sam Francis, Zenderoudi, Jaffe, Benanteur, Kim En Joong, Kuroda, Rougemont, Madi, Shimi, Kuroda, Klasen, Camacho, Vedova, Azzawi, Lindström, Kermarrec, Franta, Le Parc, Morellet, Kapoor, Mitchell, Velickovic, Koraichi, Titus-Carmel, Schlosser, Skira, Keita, Khalil, Haring, Corpet, Favier, Kaminer, Kochi, Hirst, Mehadji, Abboud, Andrea, Segui, Paladino, Rondinone, Castaneda, Sahli, Afjehei, Ehsai, Derakshani, Assadour, Baalbaki, Ben Bella, Pasqua, Takashi Murakami, Zhang Huan, Kaws, Bharti Kher, … and many other painters from all around the world, whom we continue to discover throughout exhibitions and auctions.
Translated from French by Valérie Hess.