Mubin Orhon, 1924-1981 Turkish
Mübin Orhon adopted abstract in his art since the very beginning of his career, though not regular, but he also did made some figurative works at first for educational purposes. In his text in the exhibition book, Necmi Sönmez made four periodical distinctions for his paintings; the geometrical period 1949 - 1955, Tachist Abstraction 1956 - 1960, The monochrome period 1971 - 1981, Lyrical - Expressionist Abstraction 1961 - 1970.
The vitality that was experienced in the visual arts in Paris in 1948-50 stemmed from a contest between "geometrical abstraction" and "tachist abstraction". These debates must have certainly influenced Mübin Orhon because a partiality for geometry appears in the early paintings of his. However later he made paintings with dark colors like black or gray in dominance that were highlighting more the tachist elements which enriched the surface of the canvas with different textures. After 1960, the artist started chasing different visuality by using dripping technique. In 1970 Mübin Orhon's art entered into a phase that can be called monochrome in which his paintings were characterised by a 'density of image' unlike anything to be found anywhere else in the mainstream of contemporary Turkish art. As an artist he never made his art an element of his personal life or vice versa. Instead, he produced affinities of image which he shaped and kneaded on the thresholds of quests down different paths and which can be resolved only by the shared sensitivities of "eyes that can see".