(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).
Oil on canvas. Signed in the lower left corner. Titled on the reverse. The original owner of this work, Dr. Eduardo Víctor Haedo, was president of Uruguay between 1961 and 1962. The painting was given to Che Guevara during his visit to Uruguay that same year. Provenance: Dr. Eduardo Víctor Haedo, Montevideo. Durán, Madrid, October 1990, lot 46, illustrated on the cover. Exhibitions 1961: National Commission of Fine Arts, Punta del Este, Uruguay, From Blanes to Our Days, August 1961, no. 188. 1962: National Commission of Fine Arts, Montevideo, Uruguay, Torres-García: Private Collection of Montevideo, December 1962, no. 54. 1963: Colombino Brothers Graphic Workshops, Montevideo, Uruguay, Eduardo Víctor Haedo Collection, 1963 (Dimensions recorded as 62 x 54). 1990: Savings Bank and Pawnshop of Granada, Spain, Joaquín Torres-García, June–July 1990, illustrated. Dated c. 1924-25. Publications and references Podestá 1946: Podestá, José María. J. Torres-García. Monographs on Art. American Series 3. Buenos Aires: Editorial Losada, 1946, illustrated with no. XVI. Dated 1924. The work is referenced in the catalogue raisonné. (1942.44)
Property from a Private Collection, Buenos Aires Joaquín Torres-García 1874 - 1949 Synthèse à Paris signed J. Torres-Garcia (upper right); dated 27 (upper center) oil on canvas 46 ¼ by 29 in. 118 by 73.7 cm. Executed in 1927.
JOAQUÍN TORRES GARCÍA (Uruguay, 1874 - 1949). Untitled, 1942. Copy 2/2. Etching on copper. Signed and dated (JTG 42) on the metal. Measurements: 19,5 x 13,6 cm. Joaquín Torres García, Uruguayan of birth, emigrated with his family to Mataró, where he began his artistic formation in academies after a first self-taught stage. When they all moved to Barcelona, he was able to enter the School of Fine Arts of the city, where he coincided with painters such as Mir, Sunyer, etc. In these years he exhibited works, published drawings in "La Vanguardia" and began to paint in fresco in 1901, working later in decoration with Adrià Gual and then with Gaudí in the Cathedral of Palma de Mallorca and in the Sagrada Familia. From 1905 onwards his work approached classicism, seeking an approach to Greek art, the cradle of civilization. In 1907 he began teaching at the Mont d'Or school. Around this time he replaced those Greek formal elements with Catalan ones, imbued with the vindictive spirit of the time (he participated in the Catalan Noucentisme). In 1920, he left with his family for New York, then moved to Italy and, from there, to Paris, where his work changed radically, becoming part of the constructivism headed by Mondrian, but without abandoning his peculiar symbolic universe. He elaborated his aesthetic-philosophical system, called Constructive Universalism, an art based on proportion, unity and structure. In 1934 he returned to Montevideo, where he showed his avant-garde artistic theories to promote an unprecedented art in America. In this city he created the Society of the Arts of Uruguay and published books and articles. Since 1938, the influence of pre-Columbian and indigenous art began to show in his work. He tried to implant Constructivist art in Uruguay, especially with the creation of the Torres García Workshop in 1942, where he made his disciples follow the path of art and not the mere imitation of external forms (workshop that forged the School of the South, one of the most consistent artistic movements of the twentieth century). A museum has been dedicated to his figure in Montevideo and the Thyssen-Bornemisza Museum, the San Francisco Museum of Modern Art, the Reina Sofia National Museum in Madrid, the National Museum of Art of Catalonia, the National Museum of Fine Arts in Sao Paulo, the Art Museum of the Americas in Washington DC, etc., all have works by this artist.
Property from a Private Collection 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 Montevideo 1874-1949 Still Life with Pot. 1930 Oil on canvas Signed Signed on the back July 28, 1930 Work created by the artist on his 56th birthday. Dimensions 40 x 50 cm Work included in the artist's online Catalogue Raisonné, number 1930-65 (estate 218) PROVENANCE (label on the back) Artist's Estate Olimpia Torres, Montevideo Sala Dalmau, Barcelona Private Collection EXHIBITIONS 1986, (summer), "Joaquín Torres García", Galería Sur, Punta del Este, Uruguay, p. 21, no. 14 1995 (May), "Barradas-Figari-Torres García", Sala Dalmau, Barcelona; (June-July), Galería Guillermo de Osma, Madrid
Oil on canvas Signed lower right Dimensions:37.5 x 27cm Provenance: From the collection of Michel Tozli Condition: For a detailed condition report, please contact: info@hammersite.com
TORRES-GARCIA, Joaquin. Raison et Nature. Théorie. (Paris), Éditions Iman, 1932. In-4, en feuilles. 45 ff., imprimés au recto, sous chemise fine à rabats, le tout dans un emboîtage cartonné à cordons de soie bleue et blanche au premier plat imprimé du motif contrecollé sur l'étui. Le tout placé dans un étui de toile de jute brute sérigraphiée en noir et rouge (titre) avec un dessin de l'ouvrage, signé et daté, imprimé sur papier aux contours du motif, contrecollé. Édition originale. Ouvrage photogravé, dessins au trait et texte autographié en noir. Livre d'artiste reproduisant le texte et les dessins de l'auteur,Joaquin Torres-Garcia (1874-1949), artiste hispano-uruguayen lié aux Cubistes et Surréalistes. Publié deux ans après son initiative constructiviste Cercle et Carré (1929-1930), ce titre se présente comme le manifeste d'un artiste montant, il expose chez Jeanne Bucher en 1931 ou à la galerie Percier ; chez Georges Petit en compagnie de Giacometti, Dali,Ernst ou Miró ; en 1932 chez Pierre Loeb... Ce sera son dernier livre avant son retour à Montevideo. Unique ouvrage publié par les éditions Iman, de la revue du même nom, fondée par la poétesse argentine Elvira de Alvear, muse de Borges. Légère oxydation homogène des feuillets, comme on le voit souvent sur des papiers de cette époque, la chemise interne à rabats a cédé au niveau des pliures, la cheminée du dessin contrecollé sur l'étui est manquante, quelques brins effilochés au bord de la chemise mais bon exemplaire.
Property from a Private Collection Joaquín Torres-García 1874 - 1949 Calle con tranvía signed J. Torres García and dated 28 (lower edge) oil on canvas 15 by 18 in. 38.1 by 45.7 cm. Executed in 1928. This work is included in the Joaquín Torres García Online Catalogue Raisonné (www.torresgarcia.com) as no. 1928.172.
Six-page letter handwritten in pencil by Joaquín Torres García, addressed to “Alceu and Edgardo Ribeiro, constructive artists”, dated January 1940, signed by Torres García, in which the master refers to the “timid essays” of previous Uruguayan art, to the creation of a new school that “flees from imitation” and to the task of constructive art in which the Ribeiro brothers, by virtue of their “true temperament as artists”, are called “to fight more than one battle”. Presented in a sixty-eight-page album with leather covers (the cover pyrographed with a constructive design and the inscription "August 8, 1949"), it contains a wide selection of press clippings, invitations, brochures, prints, photographs, and handwritten notes relating to the artistic activity of Uruguayan artist Edgardo Ribeiro, a student of the Torres García Workshop, in the 1940s and 1950s, compiled by Ribeiro himself. Album dimensions: 33 x 26 cm. Provenance: The artist's studio in his home, "Gondomar." Las Delicias, Maldonado Bibliography: "Unpublished Works from the 1940s by the Master Edgardo Ribeiro." Galería Latina. Montevideo, 2005. Reproduced on p. 11 Carta de seis folios manuscritos a lápiz por Joaquín Torres García, dirigida a “Alceu y Edgardo Ribeiro, constructivos”, fechada en enero de 1940, con firma de Torres García, por la cual el maestro se refiere a los “ensayos tímidos” del arte uruguayo anterior, a la creación de una nueva escuela que “huye de la imitación” y a la tarea del arte constructivo en la que los hermanos Ribeiro, en virtud de su “verdadero temperamento de artistas”, están llamados “a librar más de un combate”. Presentada dentro de un álbum de sesenta y ocho carillas, con portadas en cuero (la portada pirograbada con diseño constructivo e inscripción “Agosto-8-49”, conteniendo una amplia selección de recortes de prensa, invitaciones, folletos, láminas, fotografías y notas manuscritas relativos a la actividad artística del alumno del Taller Torres García, el artista uruguayo Edgardo Ribeiro en las décadas de 1940 y 1950, recopilados por el propio Ribeiro. Medidas álbum 33 x 26 cm. Proveniencia: Taller del artista en su casa “Gondomar”. Las Delicias, Maldonado Bibliografía: "Obras inéditas de los años 40 del maestro Edgardo Ribeiro." Galería Latina. Montevideo, 2005. Reproducido en p. 11
A set of seven pencil sketches on paper by Joaquín Torres García (averaging 13 x 21 cm) presented in a seventy-two-page album with leather covers. It contains a wide selection of press clippings, invitations, brochures, and prints related to Joaquín Torres García's artistic activity in the 1940s. These were compiled by Uruguayan artist Edgardo Ribeiro, a student of the master and member of his studio. These include three envelopes of correspondence sent to Ribeiro by Torres García, two of them handwritten by Torres García, one of them with the letterhead of the Association of Constructive Art, and a handwritten note by Torres García addressed "to my friend Ribeiro" dated July 22, 1946. Album dimensions: 42 x 35 cm. Provenance: The artist's studio in his home in Gondomar. Las Delicias, Maldonado Bibliography: "Unpublished Works from the 1940s by Master Edgardo Ribeiro." Galería Latina. Montevideo, 2005. Reproduced on pp. 12 and 13 Conjunto de siete bocetos a lápiz sobre papel realizados por Joaquín Torres García (de una medida promedio de 13 x 21 cm) presentados dentro de un álbum de setenta y dos carillas, con portadas en cuero, conteniendo una amplia selección de recortes de prensa, invitaciones, folletos y láminas relativos a la actividad artística de Joaquín Torres García en la década de 1940, recopilados por el artista uruguayo Edgardo Ribeiro, alumno del maestro y miembro de su taller, incluyendo tres sobres de correspondencia enviada a Ribeiro por Torres García, dos de ellos manuscritos por Torres García, uno de ellos con membrete de la Asociación de Arte Constructivo, y una nota manuscrita por Torres García y dirigida “al amigo Ribeiro” con fecha 22 de julio de 1946. Medidas de álbum 42 x 35 cm. Proveniencia: Taller del artista en su casa “Gondomar”. Las Delicias, Maldonado Bibliografía: "Obras inéditas de los años 40 del maestro Edgardo Ribeiro." Galería Latina. Montevideo, 2005. Reproducido en p. 12 y 13
Oil on Cardboard Signed (lower right) Dimensions (including frame): 54 × 43.5 cm Dimensions (excluding frame): 42 × 28.5 cm Provenance: Private collection, Tel Aviv Condition: For a detailed condition report, please contact: info@hammersite.com
Joaquín TORRES-GARCÍA Figura de mujer sendata construtiva - 1936 Huile sur panneau Signé des initiales en haut à droite "J.T.G", daté en haut à gauche "36" Au verso Etude de bateau dans un port Crayon 49 x 39.5 cm Provenance : Atelier de l'artiste Ifigenia Torres, Montevideo Enric Jardí, Barcelone Galerie Barbié, Barcelone Vente New York, Sotheby's, 25 novembre 1986, lot 21 Collection particulière, Barcelone Collection particulière européenne Expositions : Madrid, Museo Español de Arte Contemporáneo, Barcelone, Museo de Arte Moderno, Exposición Antológica Torres-García, avril-juin 1973, n°85 reproduit p.101 Bibliographie : J.P. Argul, "La irrupción de Torres-García en su país" , in Mundo Hispánico, Madrid, 1973, n°301, reproduit p.40 in Destino, "La estética de Torres-Garcia", Barcelone, 7 juillet 1973, reproduit E. Jardí, Joaquín Torres-García, Polígrafa, Barcelona, 1973, n°269, reproduit p.197 in Mundo Hispánico, "Extraordinario Dedicado al Pintor Torres García", Madrid, mai 1975, n°326, reproduit p.15 A. Maslach, Joaquín Torres-García: sol y luna del arcano, JTG, Caracas, 1998, n°340, reproduit p.572 (détail) J.M. Sanguinetti, Joaquín Torres-García: El lenguaje de las cosas y del mundo, Clásica: Arte & Cultura, Buenos Aires, 1999, n°134 reproduit à la table des matières Cette œuvre est référencée dans le catalogue raisonné en ligne de l'Œuvre de Joaquín Torres-García sous le n°1936.15 (estate: 679) https://www.torresgarcia.com/catalogue/entry.php?id=1456 Oil on panel, signed with the initials upper right, dated upper left, on the reverse, pencil; 19 1/4 x 15 1/2 in. Lot en importation temporaire : la TVA réduite à 5,5% s’applique sur l’adjudication et la commission de vente. Lot in temporary importation : 5,5% VAT is calculated on hammer price and buyer’s premium. Joaquín TORRES-GARCÍA 49 x 39.5 cm
JOAQUÍN TORRES GARCÍA (Montevideo, 1874 – 1949) "Puerto "1942. Lápiz sobre papel Adjunta certificado de autenticidad expedido por Marcos Torres Andrada, nieto del artista. Nº de referencia 1388. Procedencia: - Colección de D. Marcos Torres Andrada (nieto del artista). - Galería Guillermo de Osma, Madrid. - Colección privada, Madrid. Exposición: - "Siglo XIX y XX: Pintura y Artes Decorativas". Setdart Madrid, 2020. Medidas:12 x 15 cm
JOAQUÍN TORRES GARCÍA (1874-1949) Paisaje urbano ou Paisaje de Albais [Paysage urbain ou Paysage d'Albais], 1928 Huile sur carton marouflé sur panneau Signée et datée '[19]28' en haut à gauche Oil on cardboard laid on panel, signed and dated '[19]28' upper left 38 x 53 cm - 15 x 20 7/8 in. Cette oeuvre est décrite et reproduite dans le catalogue raisonné digital Joaquín Torres-García sous la référence 1928.136. Provenance - Galería de Arte, Madrid - Vente, Pintura, Castellana 150, Madrid, 9 février 1999, lot 246 - Vente, Tableaux impressionnistes, XIXe et modernes, Aguttes, Paris, Hôtel Drouot, 4 novembre 2011, lot 128 (titré Paysage urbain) - Collection particulière, Belgique (acquis au cours de la vente précédente) Expositions - Exposición Antológica Torres-García, Madrid, Museo Español de Arte Contemporáneo, avril-mai 1973, et Barcelone, Museo de Arte Moderno, juin 1973, n°58 (étiquette au dos) - Joaquín Torres-García, Grenade, Caja de Ahorros y Monte de Piedad de Granada, juin-juillet 1990 (titré Paisaje de Albais)
Inks and pencil on paper. On the back is a label from the Guillermo de Osma Gallery, Madrid. A certificate of authenticity signed by Marcos Torres, the artist’s grandson, is attached. Provenance: - The artist’s collection, Montevideo - Marcos Torres (the artist’s grandson), New York - Fernando Castillo, Montevideo-Barcelona - Guillermo de Osma Gallery, Madrid - Jorge Virgili, Madrid Exhibitions: Madrid, Juan March Foundation, “Play in Art. Pedagogies, art and design”, March-June 2019, cat. n. 299, p. 327, rep. Bibliography: - “Circle and Square. Magazine of the Association of Constructive Art” No. 1 (second era), Montevideo, May 1936, rep. - Joaquin Torres-Garcia, “Metaphysics of Indo-American Prehistory”, Montevideo, Constructive Art Association Publications, 1939, rep. on back cover - Joaquin Torres-Garcia, “Manifesto No. 3”, Montevideo, Constructive Art Association Publications, 1939, rep. on back cover - Joaquin Torres-Garcia, “500th Conference given by J. Torres Garcia in Montevideo between 1934 and 1940”, Montevideo, Constructive Art Association Publications, 1940, rep. on back cover - Luis Perez Oramas et al., “Joaquin Torres-Garcia. The Arcadian Modern”, New York, MoMA, 2015, p. 203, rep. - Luis Perez Oramas et al., VV.AA. “Joaquin Torres-Garcia. A Modernist in Arcadia,” Madrid, Telefonica Foundation, MAlaga, Picasso Museum, 2015, p. 202, print. Dimensions: 9 x 17 cm
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.
Ink drawing on paper, signed and dated at the bottom J. Torres-García (19)28, catalog raisonné Lumber 629, Uruguayan-Spanish painter born 1874 in Montevideo, Uruguay - 1949 Montevideo, sheet H 24 cm x W 18 cm, glazed frame 41 cm x 33 cm, as an additional attachment there is a confirmation of authenticity via email from the auction house Sotheby's, right corner slight water damage, right edge minimal crack approx. 5 mm Provenance: Private collection Lower Rhine
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "The Black Cat", 1898. Original lithographic poster. Printer Utrillo Rialp. Signed in plate in the lower right corner. Work catalogued in "Torres Garcia", Enric Jardí, Ed Poligrafía 1973. Note: This piece was part of the exhibition "Picasso y els 4 Gats" organized by the Museum of Modernism of Barcelona from April 13, 2023 to July 14, 2023, curated by Gabriel Pinós. Measurements: 21 x 13 cm; 41 x 35 cm (frame). A representative of the constructivist movement par excellence, Joaquín Torres-García also imbibed the modernist trend at the beginning of his career during his years in Barcelona. This first Torres-García developed an especially small-format production in which he combined portraits and landscapes within a certain costumbrismo, with prominence of the arabesque and the coup-de-fuet in some of his drawings. He also dedicated himself to the creation of posters. 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 combined this school with classes at the Baixas Academy, the most reputable at the time. From 1894 he participated 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" or "La Saeta". In 1901 he began to paint in fresco, attracted by the timeless spirit of the ancient works done in this technique, and entered a dynamic group work in which painters, musicians, sculptors and poets collaborated. Years later he traveled to Italy to perfect his knowledge of this discipline. 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 creates 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.
JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949). "The Black Cat", 1898. Original lithographic poster. Printer Utrillo Rialp. Signed in plate in the lower right corner. Work catalogued in "Torres Garcia", Enric Jardí, Ed Poligrafía 1973. Note: This piece was part of the exhibition "Picasso y els 4 Gats" organized by the Museum of Modernism of Barcelona from April 13, 2023 to July 14, 2023, curated by Gabriel Pinós. Measurements: 21 x 13 cm; 41 x 35 cm (frame). A representative of the constructivist movement par excellence, Joaquín Torres-García also imbibed the modernist trend at the beginning of his career during his years in Barcelona. This first Torres-García developed an especially small-format production in which he combined portraits and landscapes within a certain costumbrismo, with prominence of the arabesque and the coup-de-fuet in some of his drawings. He also dedicated himself to the creation of posters. 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 combined this school with classes at the Baixas Academy, the most reputable at the time. From 1894 he participated 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" or "La Saeta". In 1901 he began to paint in fresco, attracted by the timeless spirit of the ancient works done in this technique, and entered a dynamic group work in which painters, musicians, sculptors and poets collaborated. Years later he traveled to Italy to perfect his knowledge of this discipline. 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 creates 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.
Monogrammed and dated 'JTG 48' lower right in black. 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.
Property from an Esteemed Southwestern Collection Joaquín Torres-García 1874 - 1949 Madera con pez blanco signed J. Torres-Garcia and dated 31 (upper left) oil on wood 17 by 9 in. 43.2 by 22.9 cm. Executed in 1931. This work is included in the Joaquín Torres García Online Catalogue Raisonné (www.torresgarcia.com) as no. 1931.22.
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
![Joaquim Torres Garcia Uruguay [1874-1949]](https://image.invaluable.com/housePhotos/Cnock/00/817200/H19974-LOeOBUd1pnfNaS.jpg)
![JOAQUÍN TORRES GARCÍA (1874-1949) Paisaje urbano ou Paisaje de Albais [Paysage urbain ou Paysage d'Albais], 1928](https://image.invaluable.com/housePhotos/Aguttes/61/792661/H4084-L407568922.jpg)
![Joaquim Torres Garcia [1874-1949]](https://image.invaluable.com/housePhotos/Cnock/79/767579/H19974-L368101781.jpg)
