Francesc Todó´s first exhibition was in Vinçon in 1946, 60 years ago.

For that reason Todó and Vinçon are doing a review, with some important pieces, of a great and original trajectory of our recent history of modernity.

Todó has cultivated friendship and the inteligent interchange with writers, musicians, architects and thinkers. His work takes the chief role in some key episodes of post war modern reconstruction in our country, with unique pleasure and sensibility.

We comemorate Todó's first exhibition which was held 70 years ago here at La Sala Vinçon. In that difficult time, the resistence Todó proposed, during avant guard trends, was beauty, serenity and elegant irony. An irrelevant and successful strategy: imagine the country to be another.

Todó exhibited in 1946 and 1948 at La Sala Vinçon. Here we can contemplate three of his works from that time where the conception of Cezannian roots appeared in his works, with a well marked constructive tendency. In the 50's, Todó reconciles ingenuity and abstract geometry in a very personal way. If the determinant influence of his contemporaries was the European informailities, he looked at Torres-Garcia and drawing by Saul Steinberg. In the second half of the decadehe defines his famous iconography of machines. They are complicated years, those of intense ideological debates. Todó is a strong bet for promising, real and modern art, with a vocation for social transformation. Two important books are dedicated to him for those who colaborate in the category: Three contraversial themesabout Todó and a Homage to Todó released by Joaquim Horta in 1961. But his more that militant work, was llyrical and sophisticated. It in fact, developed into an original formula of Pop Art which was defined as essentialy Barcelona style by Alexandre Circi, refined and daily domesticality.

Today, Todó works every morning, in company with music, improving the evermore prosaic and poetic ritual to evoke beauty.