A new English-language monograph, *Haroutiun Galentz: The Form of Colour*, repositions the Armenian-Lebanese painter as a major cosmopolitan modernist. The book assembles his work from international collections, arguing his career—spanning formative years in Beirut's pre-war art scene and a later period in the Soviet Union—must be understood beyond national art historical frameworks.
This reassessment is significant because it challenges narrow categorizations of 20th-century modernism. Galentz's work, shaped by displacement and a negotiation between diverse influences from the French avant-garde to Socialist Realism, represents a nuanced form of artistic resilience and autonomy, complicating standard narratives about both Lebanese modernism and Soviet-era art.