(b Montevideo, Uruguay 1874; d Montevideo 1949) Uruguayan painter. A groundbreaking artist and theorist, Joaquin Torres Garcia is best known as the founder of an abstract, symbolic painting movement he entitled Universalismo Constructivo. His work brought a new dimension to modernist painting, and his influence has been a defining one, particularly on the Latin American avant-garde. In 1892, in Barcelona, he enrolled at Escuela de Bellas Artes and Academia Baixas. From 1893 to 1898, he studied in the Cercle Artistic de Sant Lluc. By the turn of the century, he established friendships with the leading artists, including Pablo Picasso and Julio González. He began to paint frescoes and worked on stained glass windows for Antoni Gaudí's buildings. In 1913, he published his first book of artistic theory. Before he left for Paris in 1920, he began a project to manufacture toys. From Paris, he journeyed to New York City. There, he tried to promote his toys, created city scenes, and exhibited his paintings. With his colleague, the art critic Michel Seuphor, he formed the group and organized the magazine, Cercle et Carré in 1930 in Paris , which promoted constructivist and abstract art. In his mature phase, Torres García forged a post-Cubistic mode, pioneering a unique modernist idiom. While Latin American artists regarded him as a trailblazer, non-Latin American artists also acknowledged the impact of his work. Torres García explored pre-Columbian and indigenous forms, as well as Egyptian, Greek, and Indian cultures. In order to invent a universal hieratic language, the artist crafted unique, archetypal figures. This pared-down alphabet of symbols, deployed in a compartmentalized, planar space, was his hallmark. Torres García painted his final picture in 1949, the year he died. (Credit: Christie’s, New York, Latin American Sale Evening Session, November 19, 2008, Lot 13).
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Puerto", 1929. Pencil on paper. Attached certificate issued by the artist's son. Measurements: 10 x 13 cm; 22 x 26 cm (frame). At the end of the 1920's, Torres-García made numerous paintings and drawings on port themes. It was a period of transition, in which he had definitively moved away from noucentista classicism and was sliding towards a very particular neoprimitivist painting. The Seine was often the river that he drew, but the place is secondary, being reduced to minimal strokes: houses, figures and boats. The landscape undergoes a condensation and schematism that absorbs but transcends heterogeneous influences: Mondrian's neoplasticism and Ozenfant's purism leave a special mark on his planist compositions of those years. A thick black line welcomes shapes and colors applied flatly. After beginning his training as a self-taught artist, in 1890 Torres García decided to emigrate in order to train as a painter. He travels to Europe with his family the following year, at the age of seventeen. In 1892 he settled in Barcelona and entered the School of Fine Arts. There he came into contact with French impressionism, the main influence at that time for him and other famous students, such as Mir, Sunyer, Canals and Nonell. He also worked in decoration, a field in which his collaboration with Antoni Gaudí in the cathedral of Palma de Mallorca stands out. Around 1910 he began to introduce formal elements typical of Catalonia into his work, imbued with the spirit of vindication of the Catalan identity of the time. Several official commissions are related to this new approach, among which the mural decoration of the Salón de Sant Jordi at the headquarters of the Diputación Provincial de Barcelona stands out as a turning point in his career. In 1920 he moved to New York and came into contact with artists of the stature of Max Weber, Man Ray and Marcel Duchamp. Soon after, he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, thus approaching abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite. There he created the Society of the Arts of Uruguay, whose aim was to integrate all the arts and act as a link between artists and the public. He came into contact with pre-Columbian and indigenous Uruguayan art, and this aesthetic, new to him, would have a crucial influence on his thinking. He claimed that artists did not need to renounce being Latin American by pretending to be contemporary, and he brought a new dimension to the construction of the modern American language. Moreover, from this moment on, the cultural symbology of his own land took on a decisive importance in his work. His work is preserved in the Thyssen-Bornemisza Museum, the Modern Art Museums of New York, San Francisco and Lille, the Reina Sofia National Museum, the National Art Museum of Catalonia, the Torres Garcia Museum of Montevideo, the Fine Arts Museums of Houston, Philadelphia and Santa Barbara, the National Museum of Fine Arts of São Paulo, the Hirshhorn and Art of the Americas Museums of Washington DC, the Albright-Knox Gallery of Buffalo and the Los Angeles County Museum, among others. Attached is a certificate issued by the artist's son.
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "The pony go", c. 1922-24. Oil on wood. Work reproduced in the catalog raisonné no. T2.302 #. Replica based on the plans of a lost original. It has slight marks and dirt. Provenance: Private collection, New York. Measurements: 60,9 x 60,9 cm. Exhibitions: -2010-11., Avant-garde toys, October 2010 January 2011. Picasso Museum, Malaga. Published references. -IVAM 1998: Valencian Institute of Modern Art. Julio González Center, Aladdin toys, the toys of Torres García, Valencia: 1998. Exhibition catalog, p. 18. n 4. -IVAM 1998-99: Childhood and modern art. Valencia, Spain: IVA; Julio González Center, 1998. Exhibition catalog (1998-99 IVAM). Ill. P. 53. Replica based on the plans of a lost original that in Spain was known as Clavileño, although its international name was Pony go. It was a toy of traditional conception, and the most important in the American market, even in design. The originality of this model, far removed from educational references, lay in the mechanism patented by Torres García in New York, which made it possible to move the horse's legs and for the horse to move forward while preventing the rider from falling dangerously. In 1924, all the rocking horses were burned in a fire in the New York warehouse, and Torres García focused on other models. For Torres Garcia the marketing of his toys was as fundamental as designing and building them. After beginning his training as a self-taught artist, in 1890 Torres García decided to emigrate in order to train as a painter. He traveled to Europe with his family the following year, at the age of seventeen. In 1892 he settled in Barcelona and entered the School of Fine Arts. There he came into contact with French impressionism, the main influence at that time for him and other famous students, such as Mir, Sunyer, Canals and Nonell. He also worked in decoration, a field in which his collaboration with Antoni Gaudí in the cathedral of Palma de Mallorca stands out. Around 1910 he began to introduce formal elements typical of Catalonia into his work, imbued with the spirit of vindication of the Catalan identity of the time. Several official commissions are related to this new approach, among which the mural decoration of the Salón de Sant Jordi at the headquarters of the Diputación Provincial de Barcelona stands out as a turning point in his career. In 1920 he moved to New York and came into contact with artists of the stature of Max Weber, Man Ray and Marcel Duchamp. Soon after he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, thus approaching abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite. There he created the Society of the Arts of Uruguay, whose aim was to integrate all the arts and act as a link between artists and the public. He came into contact with pre-Columbian and indigenous Uruguayan art, and this aesthetic, new to him, would have a crucial influence on his thinking. He claimed that artists did not need to renounce being Latin American by pretending to be contemporary, and he brought a new dimension to the construction of the modern American language. Moreover, from this moment on, the cultural symbology of his own land took on a decisive importance in his work. His work is preserved in the Thyssen-Bornemisza Museum, the Modern Art Museums of New York, San Francisco and Lille, the Reina Sofia National Museum, the National Art Museum of Catalonia, the Torres Garcia Museum of Montevideo, the Fine Arts Museums of Houston, Philadelphia and Santa Barbara, the National Museum of Fine Arts of São Paulo, the Hirshhorn and Art of the Americas Museums of Washington DC, the Albright-Knox Gallery of Buffalo and the Los Angeles County Museum, among others. Work reproduced in the catalog raisonné no. T2.302 #. Replica based on the plans of a lost original. It has slight marks and dirt. Exhibitions: -2010-11., Avant-garde toys, October 2010 January 2011. Picasso Museum, Málaga. Published references. -IVAM 1998: Valencian Institute of Modern Art. Julio Gonzalez Center, Aladdin toys, the toys of Torres García, Valencia: 1998. Exhibition catalog, p. 18. n 4. -IVAM 1998-99: Childhood and modern art. Valencia, Spain: IVA; Julio González Center, 1998. Exhibition catalog (1998-99 IVAM). Ill. p. 53.
Property from an Important Private European Collection Joaquín Torres-García 1874 - 1949 New York Harbour signed with the artist's initials (lower left) and dated 1923 (lower right) oil on cardboard 70,7 x 50,8 cm; 27 7/8 x 20 in. Executed in 1923. This work is included in the Joaquín Torres-García Online Catalogue Raisonné (www.torresgarcia.com) as no. 1923.10. __________________________________________________________________________ Provenant d'une Importante Collection Particulière Européenne Joaquín Torres-García 1874 - 1949 New York Harbour signé des initiales de l'artiste (en bas à gauche) et daté 1923 (en bas à droite) huile sur carton 70,7 x 50,8 cm; 27 ⅞ x 20 in. Exécuté en 1923. Cette œuvre est incluse dans le Catalogue Raisonné en ligne de Joaquín Torres-García (www.torresgarcia.com) sous le numéro 1923.10.
Joaquín Torres-García 1874 - 1949 Bodegón (Naturaleza muerta) signed J. Torres Garcia (upper left); dated 1927 (upper right) oil on canvas 15 ¼ by 28 ¼ in. 38.5 by 71.7 cm. Executed in 1927. This work is included in the Joaquín Torres García Online Catalogue Raisonné (www.torresgarcia.com) as no. 1927.33.
JOAQUÍN TORRES GARCÍA (Uruguayan School, 1874-1949) Crayon and pencil on cardboard "Constructive port". 1918 Signed and dedicated "a l'amie Ricard" at lower left Placed "Rosario, Spain" in the center 24,8 x 33,3 cm Provenance: Enric Ricart Collection, Barcelona. Estudio Actual Gallery, Caracas. Sánchez Elía Collection, Caracas. Private Collection, New York. Christie's, New York. November 25, 1992. Lot 150. Private collection, New York. Christie's, New York. November 20, 2007. "Latin American Art." Lot 133. Christie's, New York. November 20, 2008. "Latin American Art." Lot 155. Christie's, New York. May 30, 2012. "Latin American Art." Lot 172. Christie's, New York. November 25, 1992. Lot 150. Christie's New York. June 24, 2014. "Interiors." Lot 123. Private collection, Montevideo. Castells, Montevideo. 16 November 2016. "Taller Torres García." Lot 41. TazArt, Montevideo. November 21, 2013. Lot 66 Work included under No. Wop1918 in the catalog raisonné "Joaquín Torres García Online" directed by Cecilia de Torres (www.torresgarcia.com). JOAQUÍN TORRES GARCÍA (Escuela uruguaya, 1874-1949) Crayón y lápiz sobre cartulina “Puerto constructivo” 1918 Firmado y dedicado "a l'amie Ricard" abajo a la izquierda Situado "Rosario, España" al centro 24,8 x 33,3 cm Proveniencia: Colección Enric Ricart, Barcelona. Galería Estudio Actual, Caracas. Colección Sánchez Elía, Caracas. Colección privada, Nueva York. Christie’s, Nueva York. 25 de noviembre de 1992. Lote 150. Colección privada, Nueva York. Christie’s, Nueva York. 20 de noviembre de 2007. “Latin American Art.” Lote 133. Christie’s, Nueva York. 20 de noviembre de 2008. “Latin American Art.” Lote 155. Christie’s, Nueva York. 30 de mayo de 2012. “Latin American Art.” Lote 172. Christie’s, Nueva York. 25 de noviembre de 1992. Lote 150. Christie's New York. 24 de junio de 2014. "Interiors." Lote 123. Colección privada, Montevideo. Castells, Montevideo. 16 de noviembre de 2016. “Taller Torres García.” Lote 41. TazArt, Montevideo. 21 de noviembre de 2013. Lote 66 Obra incluida con el No. Wop1918 en el catálogo razonado “Joaquín Torres García Online” dirigido por Cecilia de Torres (www.torresgarcia.com).
JOAQUÍN TORRES GARCÍA (Uruguayan School, 1874-1949) Oil on cardboard glued on board "Marina de Mallorca" (Majorca's Navy) Circa 1946 Signed with initials J.T.G. lower left 34 x 44 cm Provenance: Gomensoro & Castells. "Pinacoteca with the most representative painters of Uruguayan painting." Montevideo, November 9, 1977. Lot 21. Private collection, Montevideo. Exhibitions: "Torres-Garcia: Montevideo Private Collection." National Commission of Fine Arts. Montevideo, December 1962. Work included under No. 1946.34 in the catalog raisonné "Joaquín Torres García Online" directed by Cecilia de Torres (www.torresgarcia.com). JOAQUÍN TORRES GARCÍA (Escuela uruguaya, 1874-1949) Óleo sobre cartón pegado en tabla “Marina de Mallorca” Circa 1946 Firmado con iniciales J.T.G. abajo a la izquierda 34 x 44 cm Proveniencia: Gomensoro & Castells. “Pinacoteca con los pintores más representativos de la pintura uruguaya.” Montevideo, 9 de noviembre de 1977. Lote 21. Colección privada, Montevideo. Exposiciones: “Torres-García: Colección Privada de Montevideo.” Comisión Nacional de Bellas Artes. Montevideo, diciembre de 1962. Obra incluida con el No. 1946.34 en el catálogo razonado “Joaquín Torres García Online” dirigido por Cecilia de Torres (www.torresgarcia.com).
Joaquin Torres-Garcia Untitled 1936 colored pencil on lined notebook page 10.625 h x 7.875 w in (27 x 20 cm) Signed and dated to lower edge 'JTG 1936'. This work will ship from Lambertville, New Jersey.
Joaquin Torres-Garcia Untitled 1933 ink and watercolor on paper 5.375 h x 4.5 w in (14 x 11 cm) Signed and dated to lower edge 'JTG 33'. Provenance: Collection of Senora Isabel Ruiz, Madrid | Acquired from the previous c. 1970, Private Collection | Thence by descent This work will ship from Lambertville, New Jersey.
Property from a Private Collection, Peru Joaquín Torres-García 1874 - 1949 Nature morte avec oranges signed J. Torres García and dated 27 (upper left) oil on canvas 11 ¾ by 15 ⅜ in. 29.8 by 39 cm. Executed in 1927. This work is included in the Joaquín Torres García Online Catalogue Raisonné (www.torresgarcia.com) as no. 1927.20.
JOAQUÍN TORRES GARCÍA Montevideo 1874-1949 Constructive port. c. 1943 Pencil on paper Back signed Measurements 13.9 x 19.1 cm Certificate signed by Mr. Marcos Torres Andrada
Joaquín Torres García (1874-1949) Untitled, 1936 India ink and graphite on paper Monogrammed on the bottom left Dated on the bottom right 14,5 x 11,5 cm Provenance: - Leandro Navarro gallery, Madrid - Private collection, Paris The buyer will be provided with an authenticity certificate from the Torres Garcia Foundation. Joaquín Torres García (1874-1949) Sans titre, 1936 Encre de Chine et mine de plomb sur papier Signé du monogramme en bas à gauche Daté en bas à droite 14,5 x 11,5 cm Provenance : - Galerie Leandro Navarro, Madrid - Collection particulière, Paris Un certificat d'authenticité de la Fondation Torres Garcia sera remis à l'acquéreur.
Vins Bleistift und Feder in Braun auf braunem Velin. 1930. 12,7 x 18 cm. Oben links mit Feder in Braun signiert "J. Torres-GARCIA", oben rechts datiert. Kantige, konstruktivistisch abstrahierte Formen dominieren die kleine Zeichnung aus Torres-Garcías Pariser Zeit. Seine Kunst ist tief in seiner Entwicklung des modernen Klassizismus und eines universellen Konstruktivismus verwurzelt. Nach Stationen in Spanien, New York und Italien ging Torres-García 1924 nach Frankreich. In Paris bezog er ein Atelier zusammen mit Jean Hélion und gründete im Herbst 1929 mit Michel Seuphor, Piet Mondrian, Hans Arp, Le Corbusier, Georges Vantongerloo und anderen die Gruppe Cercle et Carré, um der zunehmenden Popularität und dem Einfluss des Surrealismus entgegenzuwirken. Im Jahr 1930 entstanden einige kompositorisch vergleichbare Gemälde des Künstlers, "Maison metaphysique" (1930.04, torresgarcia.com, Zugriff 27.02.2024), "Constructif Paris-Est" (1930.23) oder "Rambla portuaria" (1930.52). In den Jahren 1929/30 verfasste er zahlreiche Artikel, so z.B. "Ursprung und Entbindung des Kubismus" Neue Zürcher Zeitung, 20.10.1929, oder "Vouloir construire", Cercle et Carré Nr. 1, Paris, 15.03.1930. Dieses Werk wurde von Cecilia de Torres authentifiziert und wird in den Online-Catalogue Raisonné von Joaquín Torres-García (torresgarcia.com) aufgenommen. - Provenienz: Fine Art Auctions Miami, Auktion 40, 30.04.2016, Lot 50 Privatsammlung Berlin - Errata/Addenda:Entgegen den Angaben im Printkatalog handelt es bei der Technik um Bleistift und Feder in Braun, ohne Farbstift. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Property of an Important Private Collector, Florida Joaquín Torres-García 1874 - 1949 Constructivo signed with the initials JTG (lower left); dated 34 (lower right) oil on canvas 31 ½ by 16 ⅛ in. 80 by 45 cm. Executed in 1934. This work is included in the Joaquín Torres García Online Catalogue Raisonné (www.torresgarcia.com) as no. 1934.04.
Property from a Private Collection, Ireland Joaquín Torres-García 1874 - 1949 Bodegón signed J. Torres García (upper right); dated 1923 (upper left); signed J. Torres-Garcia and dated Fiesole 1923. (on the reverse) oil on panel 16 ⅛ by 18 ¾ in. 41 by 47.5 cm. Executed in Fiesole in 1923. This work is included in the Joaquín Torres García Online Catalogue Raisonné (www.torresgarcia.com) as no. 1923.22.
Thirty-four volumes relating to Joaquín Torres García: "Homage to Joaquín Torres García." Museum of Pre-Columbian Art. Ministry of Education and Culture of Uruguay. Montevideo, 1974. "Joaquín Torres García. Color reproductions." Art of the Americas, collection directed by José Pedro Argul. "Torres García." National Museum of Plastic Arts. Montevideo, 1974. "Joaquín Torres García. Eternal Catalonia." Sur Gallery. Punta del Este, 1988. "TTG Murals." Gurvich Museum. Montevideo, 2007. "Joaquín Torres García. 1874-1949." Museum of Art. Providence, 1970. "Circle and square. Geometric abstraction and constructivism in the Americas. 1934-1950." Kouros Galley. New York, 1991. "History of my life." Joaquín Torres García. Arca. Montevideo, 2000. "Torres García and cercle et carré. The creation of constructive universalism. Paris, 1927-1932." Pedro da Cruz. 1994. "Constructive universalism." Volume 2. Joaquín Torres García. Alianza. Madrid. 1984. "Joaquín Torres García. Escritos." Arca. Montevideo, 1974. "Torres García Museum. Collection of the Foundation." Torres García Foundation. Montevideo, 1990. "Joaquín Torres García. Bibliography." National Library. Montevideo, 1974. "Torres García Exhibition." National Commission of Fine Arts. Montevideo, 1962. "Still Lifes of the South." Sur Gallery. Punta del Este, 1991. "Homage to Joaquín Torres García. Important drawings." Missions Gallery. Montevideo, 2005. "Torres García Museum." Torres García Foundation. Montevideo, 1987. "Torres García: Grid-Pattern-Sign. Paris-Montevideo. 1924-1944." Arts Council of Great Britain. London, 1985. "Constructive Universalism. Joaquín Torres García. Oil paintings, wood and drawings." Torres García Museum. Montevideo, 2004. "The School of the South. The Torres García workshop and its legacy." Reina Sofia Museum. Madrid, 1991. "Torres García. Classic Passion." Joan Sureda Pons. Akal. Madrid, 1998. "Joaquín Torres García and the School of the South. The Adolfo Maslach Collection. Museum of Fine Arts. Caracas, 1997. "Joaquín Torres García. Catalan period. 1908-1928." National Museum of Visual Arts. Montevideo, 1988. "Joaquín Torres García and constructive universalism. The teaching of art in Uruguay." Ediciones de cultura hispánica. Madrid, 1990. "J. Torres García. New York." Torres García Museum. Montevideo, 2007. "Joaquín Torres García." XXII Sao Paulo Biennial. 1994. "Torres García. Drawings from the collections of Alejandra, Claudio and Aurelio Torres García." BBK. Bilbao, 2000. "Joaquín Torres García." Ediciones Polígrafa. Barcelona, 2002. "Joaquín Torres García. Un monde construit." Musée d'Art Moderne et Contemporain. Strasburg, 2002. "Aladdin. Transformable toys. Joaquín Torres García." Torres García Museum. Montevideo, 2005. "The Torres García Workshop and the Murals of the Saint-Bois Hospital." María Laura Bulanti. Linardi and Risso Bookstore. Montevideo, 2008. "Fundamental Ideas of Joquín Torres García." Zolá Díaz Peluffo. University of the Republic. Montevideo, 2006. "Torres García: utopia and transgression." Mario H. Gradowczyk. Torres García Museum. Montevideo, 2007. "Torres-García." Picasso Museum of Barcelona. Barcelona, 2004. Treinta y cuatro tomos relativos a Joaquín Torres García: “Homenaje a Joaquín Torres García.” Museo de Arte Precolombino. Ministerio de Educación y Cultura del Uruguay. Montevideo, 1974. “Joaquín Torres García. Reproducciones en colores.” Arte de las Américas, colección dirigida por José Pedro Argul. “Torres García.” Museo Nacional de Artes Plásticas. Montevideo, 1974. “Joaquín Torres García. Cataluña eterna.” Galería Sur. Punta del Este, 1988. “Murales TTG.” Museo Gurvich. Montevideo, 2007. “Joaquín Torres García. 1874-1949.” Museum of Arte. Providence, 1970. “Circle and square. Geometric abstraction and constructivism in the Americas. 1934-1950.” Kouros Galley. Nueva York, 1991. “Historia de mi vida.” Joaquín Torres García. Arca. Montevideo, 2000. “Torres García and cercle et carré. The creation of constructive universalism. Paris, 1927-1932.” Pedro da Cruz. 1994. “Universalismo constructivo.” Tomo 2. Joaquín Torres García. Alianza. Madrid. 1984. “Joaquín Torres García. Escritos.” Arca. Montevideo, 1974. “Museo Torres García. Acervo de la Fundación.” Fundación Torres García. Montevideo, 1990. “Joaquín Torres García. Bibliografía.” Biblioteca Nacional. Montevideo, 1974. “Exposición Torres García.” Comisión Nacional de Bellas Artes. Montevideo, 1962. “Bodegones del Sur.” Galería Sur. Punta del Este, 1991. “Homage to Joaquín Torres García. Important drawings.” Galería de las Misiones. Montevideo, 2005. “Museo Torres García.” Fundación Torres García. Montevideo, 1987. “Torres García: Grid-Pattern-Sign. París-Montevideo. 1924-1944.” Arts Council of Great Britain. Londres, 1985. “Universalismo constructivo. Joaquín Torres García. Óleos, maderas y dibujos.” Museo Torres García. Montevideo, 2004. “La Escuela del Sur. El taller Torres García y su legado.” Museo Reina Sofía. Madrid, 1991. “Torres García. Pasión Clásica.” Joan Sureda Pons. Akal. Madrid, 1998. “Joaquín Torres García y la Escuela del Sur. La colección de Adolfo Maslach. Museo de Bellas Artes. Caracas, 1997. “Joaquín Torres García. Época catalana. 1908-1928.” Museo Nacional de Artes Visuales. Montevideo, 1988. “Joaquín Torres García y el universalismo constructivo. La enseñanza del arte en Uruguay.” Ediciones de cultura hispánica. Madrid, 1990. “J. Torres García. New York.” Museo Torres García. Montevideo, 2007. “Joaquín Torres García.” XXII Bienal de San Pablo. 1994. “Torres García. Dibujos de las colecciones de Alejandra, Claudio y Aurelio Torres García.” BBK. Bilbao, 2000. “Joaquín Torres García.” Ediciones Polígrafa. Barcelona, 2002. “Joaquín Torres García. Un monde construit.” Musée d’Art Moderne et Contemporain. Strasburg, 2002. “Aladdin. Juguetes trasnformables. Joaquín Torres García.” Museo Torres García. Montevideo, 2005. “El Taller Torres García y los Murales del Hospital Saint-Bois.” María Laura Bulanti. Librería Linardi y Risso. Montevideo, 2008. “Ideas fundamentales de Joquín Torres García.” Zolá Díaz Peluffo. Universidad de la República. Montevideo, 2006. “Torres García: utopía y transgresión.” Mario H. Gradowczyk. Museo Torres García. Montevideo, 2007. “Torres-García.” Museo Picasso de Barcelona. Barcelona, 2004.
"Torres-García." Roberto J. Payro and Guillermo de la Torre. Graphia-Sagasti Printing House. Madrid, 1934. 48 p. "Torres-García." Roberto J. Payro y Guillermo de la Torre. Imprenta Graphia-Sagasti. Madrid, 1934. 48 p.
"Joaquín Torres García." Claude Schaefer. Editorial Poseidon. Buenos Aires, 1945. 88 p. "Joaquín Torres García." Claude Schaefer. Editorial Poseidón. Buenos Aires, 1945. 88 p.
Joaquín Torres-García 1874 - 1949 Pueblo (Le Village) oil on wood, in 11 parts dimensions variable Executed circa 1928-29. This work is included in the Joaquín Torres García Online Catalogue Raisonné (www.torresgarcia.com) as no. T4.612.
Pencil drawing on paper. Signed [JTG] in the lower left corner. Dated (37) in the lower right corner. Attached certificates of authenticity issued by Cecilia de Torres and Augusto Torres. The work is registered in the Catalog Raisonné with the reference Wop1937. Provenance: - Private collection.
Oil on canvas Signed in the lower left corner. Work included in the artist's online catalog raisonne with number 1903.06 Origin: -Private collection, Barcelona -Monset Collection, Barcelona (personal friend of the author) Measurements: 76 x 82.5 cm
Joaquin Torres Garcia (1874-1949) attribué à - Peinture à l'huile sur carton. Signé JTG au centre et daté 48 dans la coin inférieur droit. Dimensions : 17x22.5cm. Tableau légèrement encrassé. Dans un encadrement d'époque. Au dos de l'oeuvre, un mention manuscrite «10-4-48 » et en dessous le numéro « 70 ». En bas au centre, un mention illisible au crayon. Au dos du cadre, 3 restes d'étiquettes d'expositions superposées. Sur l'une est lisible « New Jersey ». Provenance : - Vente publique : tableau anonyme dans la succession d'une danseuse. - Conservé par l'acquéreur depuis.
Joaquin Torres Garcia (1874-1949) attribué à - Huile sur toile collée sur carton. Signée JTG et datée 44 dans le coin inférieur droit. Dimensions : 17x22cm. Tableau légèrement encrassé. Dans un encadrement d'époque. Provenance : - Vente publique : tableau anonyme dans la succession d'une danseuse. - Conservé par l'acquéreur depuis.
JOAQUÍN TORRES-GARCÍA (1874-1949) Dama y costurera signé 'J Torras' (en bas à gauche) fusain et aquarelle sur papier Exécuté circa 1896 signed 'J Torras' (lower left) charcoal and watercolour on paper Executed circa 1896 65 x 43.5 cm. 25 9/16 x 17 1/8 in.
Joaquín Torres-García 1874 - 1949 Constructivo a Doble Línea Con Máscara Roja signed with the artist's initial (lower left); dated 42 (lower center) oil on cardboard 72 x 50 cm; 28⅜ x 19¾ in. Executed in 1942. This work is included in the Joaquín Torres-García Online Catalogue Raisonné (www.torresgarcia.com) as no. 1942.23. _______________________________________________________________ Joaquín Torres-García 1874 - 1949 Constructivo a doble línea con máscara roja signé des initiales de l'artiste (en bas à gauche); daté 42 (en bas au centre) huile sur carton 72 x 50 cm; 28⅜ x 19¾ in. Exécuté en 1942. Cette œuvre figure dans le catalogue raisonné en ligne de Joaquín Torres-García (www.torresgarcia.com) sous le no.1942.23.
Monnogrammed and dated 'JTG 48' in black lower right. Born in Montevideo, Uruguay, Joaquín Torres-García was among the few artists to develop what he referred to as a “Universalismo Constructivo” out of his experiences with pre-Columbian art and the techniques of European-influenced geometric abstraction. After training at the Escuela Oficial de Bellas Artes in Barcelona and subsequently living in New York, Genoa and Nice, he moved to Paris in 1926: there he absorbed decisive artistic impulses and founded the group “Cercle et Carré” together with Michel Seuphor, Piet Mondrian, Hans Arp and Le Corbusier in 1930. It was in Paris that he first combined the abstract tendencies current at that time with motifs and symbols from the prehistoric and primitive art of his homeland, finding his way to his own personal constructivist style. In 1934 financial and political reasons led him to return to Montevideo, where he founded another artists’ group, provided drawing instruction and also finally experienced artistic recognition in the form of official commissions. The 1948 painting “Construcción con sol y luna” is one of Torres-García’s last works. This strictly arranged composition, which features a schematically depicted figure in the middle with the moon and sun to either side, served as a preparatory work for a stained-glass window in his house in Montevideo. In late paintings like this one, he worked with a strict grid that he usually divided up according to the golden section before adding interrelated Native American-inspired motifs, including the sun, fish, vessels and hearts. The colour scheme featuring red, blue and yellow was probably derived from Peruvian textiles.
JOAQUÍN TORRES GARCÍA (1874-1949) Oil on cardboard "Portrait of a man". Signed with initials "J.T.G." upper left Dated "40" on the upper right side 44 x 28 cm JOAQUÍN TORRES GARCÍA (1874-1949) Óleo sobre cartón "Retrato de hombre" Firmado con iniciales "J.T.G." arriba a la izquierda Fechado "40" arriba a la derecha 44 x 28 cm
JOAQUÍN TORRES GARCÍA (1874-1949) Oil on cardboard "Church of the Reducto". Signed "J. Torres García" lower left Dated "37" at lower right 28 x 28 cm Work certified by the Torres-García Foundation and Olimpia Torres, daughter of the artist, dated December 2, 1997. Work included in "Joaquín Torres-García Catalogue Raisonné", directed by Cecilia de Torres, numbered "1937.38", dated May 15, 2015. https://www.torresgarcia.com/catalogue/entry.php?id=1501 Exhibitions: "Centennial of the Faculty of Theology: Theology, Society and Culture." Fine Arts Pavilion of the Catholic University of Argentina. Buenos Aires, 2015. JOAQUÍN TORRES GARCÍA (1874-1949) Óleo sobre cartón "Iglesia del Reducto" Firmado “J. Torres García” abajo a la izquierda Fechado “37” abajo a la derecha 28 x 28 cm Obra certificada por la Fundación Torres García y Olimpia Torres, hija del artista, con fecha 2 de diciembre de 1997. Obra incluida en “Joaquín Torres-García Catalogue Raisonné”, dirigido por Cecilia de Torres, numerada “1937.38”, con fecha 15 de mayo de 2015. https://www.torresgarcia.com/catalogue/entry.php?id=1501 Exhibiciones: "Centenario de la Facultad de Teología: Teología, Sociedad y Cultura." Pabellón de las Bellas Artes de la Universidad Católica Argentina. Buenos Aires, 2015.
Joaquín Torres-García 1874 - 1949 Dirigible signed J.Torres-García (lower left); dated 29 (lower right) oil on canvas 15 by 18 ⅛ in. 38.1 by 46 cm. Executed in 1929. This work is included in the Joaquín Torres García Online Catalogue Raisonné (www.torresgarcia.com) as no. 1929.44.
DEDICATED TO MASTER JTG TORRES-GARCÍA, JOAQUÍN ET AL. "Removedor. N° 27. Montevideo. Montevideo. December 1950. Rare and of interest. In 4° larger (33,7 x 24,7 cm), 37 p., includes cover, 1 h. blank. Copy with its original covers, somewhat stained, but generally in good condition. Printed on different types of paper and with a couple of illustrations printed separately and mounted on the corresponding pages. Among other authors, we find texts by José Bergamin, Guido Castillo, Juan R. Menchaca, Roberto Sarpiza and Joaquín Torres García himself: "Lección 1° de la Facultad de Humanidades y Lección 7° del libro". DEDICADO AL MAESTRO JTG TORRES-GARCÍA, JOAQUÍN Y OTROS “Removedor”. N° 27. Montevideo. Diciembre 1950. Raro y de interés. En 4° mayor (33,7 x 24,7 cm), 37 p., incluye Portada, 1 h. en blanco. Ejemplar con sus tapas originales, algo manchadas, pero en general en buen estado. Impreso en distintos tipos de papel y con un par de ilustraciones impresas aparte y montadas sobre las páginas correspondientes. Entre otros autores, encontramos textos de José Bergamin, Guido Castillo, Juan R. Menchaca, Roberto Sarpiza y del propio Joaquín Torres García: “Lección 1° de la Facultad de Humanidades y Lección 7° del libro”.
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Landscape of Florence", 1945. Oil on canvas. Signed with initials and dated in the lower margin. Provenance: -Palatina Gallery, Buenos Aires, 1978. -Purchased at Sotheby's New York, May 2008. Work included in the Catalogue Raisonné by Cecilia de Torres (nº 1945.09). Measurements: 68,5 x 52,4 cm; 102 x 86 cm (frame). This is a late work by Torres García. The painter had already explored numerous languages and inaugurated styles and movements which would be key to the 20th century. In this view of a Florentine street, we are no longer faced with the reduction of reality to abstract planes, but the free brushstrokes plunge us once again into a figurative scene, but the language is highly synthetic. The swarming urban agitation denotes the wisdom of a pulse, of a hand, which has travelled a long and daring road. After beginning his training as a self-taught artist, in 1890 Torres García decided to emigrate in order to train as a painter. He travelled to Europe with his family the following year, at the age of seventeen. In 1892 he settled in Barcelona and enrolled at the School of Fine Arts. There he came into contact with French impressionism, the main influence at that time on him and other famous pupils, such as Mir, Sunyer, Canals and Nonell. In 1901 he began to paint in fresco, attracted by the timeless spirit of the ancient works executed in this technique, and entered into a dynamic of group work in which painters, musicians, sculptors and poets collaborated. Around 1910 he began to introduce formal elements typical of Catalonia into his work, imbued with the spirit of vindication of the Catalan identity of the time. Several official commissions are related to this new approach, among which the mural decoration of the Salón de Sant Jordi at the headquarters of the Diputación Provincial de Barcelona was a turning point in his career. In 1920 he moved to New York and came into contact with artists of the stature of Max Weber, Man Ray and Marcel Duchamp. Shortly afterwards he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, thus coming closer to abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite. There he founded the Sociedad de las Artes del Uruguay, whose aim was to integrate all the arts and act as a link between artists and the public.
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Classical Figures", 1915. Tempera on canvas. Work published in the artist's online Catalogue Raisonné. 1915.03 (estate: 1025). With the label of the Dau al Set gallery (Barcelona) on the back. Provenance: Estate of the artist. Manolita Piña de Torres García, Montevideo. Private Collection. Dau al Set Gallery, Barcelona. Francesc Mestre Gallery, Barcelona. Sizes: 47 x 101 cm; 70 x 120 cm (frame). This painting is a valuable link in the dazzling evolution of Torres García's work since his first triumphs in the Noucentista avant-garde in Barcelona. In this landscape with figures, although the Noucentista imprint remains through the reinterpretation of classicism and the interest in situating the figures in a rural setting, the manner of resolving the bodies and applying the colours already indicate a radically different approach from that of the Catalan group. In the way of economising the forms and synthesising the line, as well as in the adaptation of the palette to a range of ochre and sienna tones, we can appreciate a certain Cezannian beat. All this presages his great contribution to the history of modern art as the creator of Constructivism. In this carefully composed landscape, with an olive tree compartmentalising the scene, the three bodies withdraw silently into themselves, enclosed in their own gestures and thoughts, while at the same time harmoniously moulding themselves to the scene. The houses have been described with the same eagerness to schematise the world, to reduce life to its essence. After beginning his training as a self-taught artist, in 1890 Torres García decided to emigrate in order to train as a painter. He travelled to Europe with his family the following year, at the age of seventeen. In 1892 he settled in Barcelona and enrolled at the School of Fine Arts. There he came into contact with French impressionism, the main influence at that time on him and other famous pupils, such as Mir, Sunyer, Canals and Nonell. In 1901 he began to paint in fresco, attracted by the timeless spirit of the ancient works executed in this technique, and entered into a dynamic of group work in which painters, musicians, sculptors and poets collaborated. Around 1910 he began to introduce formal elements typical of Catalonia into his work, imbued with the spirit of vindication of the Catalan identity of the time. Several official commissions are related to this new approach, among which, as a turning point in his career, the mural decoration of the Salón de Sant Jordi at the headquarters of the Diputación Provincial de Barcelona (Barcelona Provincial Council) stands out. In 1920 he moved to New York and came into contact with artists of the stature of Max Weber, Man Ray and Marcel Duchamp. Shortly afterwards he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, thus coming closer to abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite. There he creates the Sociedad de las Artes del Uruguay, whose aim is to integrate all the arts and to act as a link between artists and the public. He came into contact with Uruguayan pre-Columbian and indigenous art, and this aesthetic, new to him, was to have a crucial influence on his thinking. His work is held in the Thyssen-Bornemisza Museum, the Modern Art Museums of New York, San Francisco and Lille, the Museo Nacional Reina Sofía, the Museo Nacional de Arte de Cataluña, the Museo Torres García in Montevideo, the Fine Arts Museums of Houston, Philadelphia and Santa Barbara, the Museo Nacional de Bellas Artes in São Paulo, the Hirshhorn and Art of the Americas Museums in Washington DC, the Albright-Knox Gallery in Buffalo and the Los Angeles County Museum, among others.
Property from an Important Swiss Private Collection Joaquín Torres-García 1874 - 1949 Race Car (Auto de carreras) gouache on paper 14 by 16⅛ in. 35.6 by 41 cm. Executed in New York circa 1921. This work is accompanied by a certificate of authenticity signed by Cecilia de Torres and dated New York, May 17, 2012. This work has been authenticated by Cecilia de Torres and is currently in the process of being included in the Online Catalogue Raisonné of Joaquín Torres-García (www.torresgarcia.com).
JOAQUÍN TORRES GARCIA (1874-1949). "Constructive in black and white, 1931. " Engraving. 30.8 x 23.8 cm. Featured in "La regla abstracta". Ellena Editions. Rosario, 1967. Copy numbered 67 of 403. In original binding and box. Certified by Manolita Piña de Torres García.
Joaquin TORRES GARCIA (1874-1949) att. Oil on wooden board Constructive black and white bears the signature JTG Prov: Belgian private collection - Weight: 4.20 kg - Shipping unavailable - Region: Uruguay - Sizes: H 1200 mm x L 210 mm - At first glance: good condition - Author / artist: Joaquin TORRES GARCIA
JOAQUÍN TORRES GARCÍA (1874-1949) One volume "La tradición del hombre abstracto (doctrina constructivista)". constructivo Art Association. Montevideo, 1938
(1874-1949) Four volumes "Historia de mi vida." Asociación de Arte Constructivo. Montevideo, 1939 "Mística de la pintura." constructivo Art Association. Montevideo, 1947 "Pére Soleil." Torres Garcia Foundation. Montevideo, 1974 "Torres García. Works destroyed in the fire at the Museum of Modern Art in Rio de Janeiro." Torres Garcia Foundation. Montevideo, 1981 Raquel Pereda Collection
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "Lady and seamstress". Mixed media on paper. With missing upper right corner, restorations and slight damage to the frame. Signed in the lower right corner. Measurements: 65 x 43,5 cm; 101 x 80,5 cm (frame). In this work we can appreciate a certain influence of the Belle Epoque style, through the representation of the woman and the forms adopted by the author, in the configuration of the outline. These characteristics invite the viewer to think of an early work by the artist, prior to his arrival in Paris. Torres García was closely linked to Catalan noucentisme, working for several magazines such as Pèl & Ploma. His friendship with the modernist painter Ramón Casas had a strong influence on his painting, as can be seen in this work on paper. Torres García wanted to find a way of creating a universal art and, in this way, the bases of his pictorial thought are resolved by means of constructive universalism, where art is understood as that which unites man and nature. Thus, Torres García created his own plastic language using symbols and formal resources combined with tradition and modernity. Before his arrival in Paris in 1926 he had already explored abstraction and other avant-garde practices, but from that moment on he was immersed in the cultural and intellectual context that led him towards the consolidation of his mature style. On this path of stylistic fixation, Torres-García drew from various inspirations, especially from the dominant group in this context, the Surrealists. In addition, he was especially attracted to the ideas of the creators of Neo-Plasticism - Van Doesburg and Mondrian - whose rigorous geometry and pure colours, along with mystical spiritualism and utopian vision, married well with his beliefs about the intersection of art and life. His study of the ancient arts of the Americas was crucial, as it provided him with the element that would allow him to move from pure geometry to a particular approach to abstraction linked to European avant-garde practices and the archetypal forms of pre-Columbian art. The present work is an extraordinary example of the innovation that led Torres-García to develop his characteristic style, which defines his unique contribution to the history of avant-garde art. After beginning his training as a self-taught artist, Torres-García emigrated in 1890 in order to train as a painter. In 1892 he settled in Barcelona and enrolled at the School of Fine Arts, where he came into contact with French Impressionism and artists such as Mir, Sunyer, Canals and Nonell. He combined this school with classes at the Baixas Academy, which was highly reputed at the time. From 1894 he took part in the General Exhibitions of Fine Arts in the foreign section. During this decade he published several drawings in newspapers and magazines such as "La Vanguardia", "Iris", "Barcelona Cómica". In 1901 he began to paint in fresco, attracted by the timeless spirit of the ancient works executed in this technique, and entered into a dynamic of interdisciplinary work. He also worked in decoration, a field in which his collaboration with Antoni Gaudí in the cathedral of Palma de Mallorca stands out. Around 1910 he began to introduce formal elements typical of Catalonia into his work, imbued with the spirit of vindication of the Catalan identity of the time. In 1920 he moved to New York and came into contact with artists of the stature of Weber, Man Ray and Duchamp. Shortly afterwards he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, thus moving closer to abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite.
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