Joaquín Torres García

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Joaquín Torres García
Born	July 28, 1874(1874-07-28) Montevideo
Died	August 8 1949 Montevideo
Nationality	Uruguayan
Field	Painting, Sculpture
Training	Escuela Oficial de Bellas Artes and Academia Baixas, Barcelona
Movement	Constructivism
Awards	Premio Nacional de Pintura (Uruguay)

Joaquín Torres García (28 July 1874 – 8 August 1949), was a Uruguayan artist (in a variety of media) and art theorist, also known as the founder of Constructive Universalism.

Born in Montevideo, Torres García later travelled extensively, and lived for some time in Barcelona, New York, Paris, and Madrid. He returned to Uruguay in 1934.

He is now probably Uruguay's most famous and celebrated artist. A foundation and museum are dedicated to him in downtown Montevideo.

Contents 1 Biography 1.1 1874-1891. Early days 1.2 1893-1916. Barcelona. Studies and first works 1.3 1919-1932. New York and Paris 1.4 1934-1949. Montevideo. Last days 2 Works 2.1 Writings 2.2 Pictures 2.3 Murals 2.4 Sculptures 3 Bibliography 4 Notes 5 References 6 External links

[edit] Biography

[edit] 1874-1891. Early days

Torres García was born in Montevideo. His parents were Joaquim Torras Fradera (son of Joan Torras and Rosa Fradera, Mataronian rope makers) and María García Pérez (daughter of José María García, Canarian master carpenter, and Misia Rufina Pérez, descendant of Urugayan aristocrats of Creole origin.).

In 1890, after a childhood made difficult by the ups and downs of his family's economic and domestic circumstances, the mostly self-taught Torres García fixed himself on the objective of emigrating so as to become a painter, an objective he decided could not be fully achieved in the capital of Uruguay. Consequently, he decided to travel with his family to Europe in June 1891 at the age of 17. His father's family brought them directly to Mataró, Spain. There, Torres García began attending a local academy during the day where he learned the basics of the craft, and by night took drawing classes at a night school of Arts and Crafts. In 1892, the family decided to take up residence in Barcelona, so Torres García was able to enroll in the Escuela de Bellas Artes (School of Fine Arts) of Barcelona.

Studying there at the same time were many other painters who were later to gain recognition: Joaquim Mir, Joaquim Sunyer, Ricard Canals and Nonell, all of whom were influenced by French Impressionism preponderant at that moment, and by the writings of Émile Zola. With them, he headed out to paint in the suburbs of the city, imitating the avant garde painters of the time: Monet, Alfred Sisley and Renoir. Because all his classes were in the evening, he decided to make full use of the daylight hours by entering the Academia Baixas, the most reputed of that time because it was considered more academic than the official school of Fine Arts.

[edit] 1893-1916. Barcelona. Studies and first works

In 1893, Torres García matriculated in the Cercle Artístic de Sant Lluc, whose Catholic leanings made a strong impression upon him. He remained an associate until 1898. There, he met Josep Pijoan, Eduardo Marquina, Pere Moles and Luis de Zulueta. Beginning in 1894, he participated in the Exposiciones Generales de Bellas Artes, in the Foreign section, and the following year he began to collaborate with the Catholic Typographic Bookstore until 1899. In 1897, he exhibited his works in the exposition hall of the newspaper La Vanguardia and participated in a collective exposition of the associates of the Círculo Artístico de Sant Lluc. During this period, Torres established friendships not only with painters and sculptors of the stature of Manolo Hugué, Ramon Pichot, the Oleguer brothers, Sebastià Junyent, the Sunyer brothers, Pablo Picasso, the Joan brothers, Julio González, and Planella, but also with musicians such as Antoni Ribera.

In the following years, he published various drawings in the periodical La Vanguardia under the name Quim Torras, and in the magazines Iris, Barcelona Cómica and La Saeta.

From 1901, Torres García began to paint in fresco, attracted by the timelessness of the older works created using this technique, and began a dynamic working relationship with a group that mixed together painters, musicians, sculptors and poets; all of the above-mentioned would meet in Julio González's studio, attend artistic get-togethers at the Círculo de Sant Lluc, classical music concerts at the Liceu, and debates and conversations at Els Quatre Gats, the Soler tailor-shop, and other locations. In May 1903 he published an article in the monthly magazine Universitat Catalana entitled Augusta et Augusta, affirming that artistic form would never copy reality and defended his idealist conception of art.

He began to work in decorative arts, first with Adrià Gual and later in Catalan architect Antoni Gaudí's remodeling of the La Seu. He worked on the first two lateral stained glass windows and the rose window of the Capilla Real, whose construction was carried out in the workshops of the Sagrada Familia in Barcelona. This collaboration lasted until 1905, exposing Torres to Gaudí's collaborative and interdisciplinary vision of work, as well as the necessity to consider decoration and architecture globally.

Because of economic necessity, he gave sketching classes in private homes, such as the home of Don Jaime Piña y Segura, father of Torres García's wife-to-be Manolita Piña i Rubíes, as well as in the home of composer Isaac Albéniz where he taught Albéniz's son Julio. In 1904, he received his first commissions in wall decoration: in the chapel of the Santísimo Sacramento of the church of San Agustín in Barcelona, which would eventually be destroyed during the Spanish Civil War; and the apse of the Iglesia de la Divina Pastora in Sarrià, now lost, and quickly covered by other painters.

In 1905, his work very evidently evolved formally towards planismo (flat-ism), as his enemies called his new style. They characterized this as "defectos de factura" ("defects in the making" of the work), indifference to visual appeal of the work and to the work being pleasing to the senses. In 1906 he tried to move away from the superficiality that underlay his pictures, seeking to mix it with the source of all civilization, the art of Ancient Greece. In 1907 he began his teaching job in the Mont d’Or school, founded by the pedagogue Joan Palau Vera in Sarrià, which also introduced for the first time in Spain life drawing. He married Manolita Piña 20 August 1909 in Barcelona. In this period, Torres García substituted formal elements of Greek origin for those specific to Catalonia (villas, farmers, labourers, etc.) imbuing his work with a contemporary Catalonian spirit.

The Argentine journalist Roberto Payró commissioned from Torres García two large panels for the Uruguayan pavilion at the Brussels International exposition of 1910 in which he represented allegories of agriculture and of livestock ranching. In passing, he visited Florence, Rome and Paris. On his return, he settled in Vilassar de Mar, where his first daughter Olimpia was born. His work Su trabajo delighted some of his followers in Barcelona, such as Eugeni d'Ors, Roman Jori, Manuel Folch i Torres and Josep Clarà, who on his return convinced him to work on artistic projects that would bring renown to Catalonia. Several distinct commissions in the old palace of the Generalitat de Cataluña (the Catalan government), which had then been recently purchased as the seat of the provincial council of Barcelona, ranged from some stained glass for the windows of the hall of the Consell de la Mancomunitat, to decorating the walls of the Salón de Sant Jordi. This last project, a series of murals, was the largest and most important in Torres-García's life, which he was expected to execute in accord with the ideological guidelines laid out by the president of this institution, Enric Prat de la Riba. After a trip to Italy to study fresco technique, he established himself in Tarrasa, to which he had moved the Escuela Mont d’Or.

In May 1913 he published his first book, Notes sobre Art ("Notes on Art"), which effectively constituted a de facto break with the main protector of his theories, Eugeni d'Ors, who considered the references to the historic-iconographic Catalan identity that Torres García included in his book to constitute an ideological usurpation. On June 19, 1913 his second child, a boy named Augusto, was born in Tarrasa. At the end of the same month, he began to execute the first fresco for the Salón de Sant Jordi, La Cataluña eterna ("Eternal Catalonia"). At the time he finished the fresco, Torres García founded the Escuela de Decoración (School of Decoration) in Sarrià with a group of young pupils, with the specific intention of founding a school of muralists and decorators who would put his theories into practice. In August of the following year, the Escuela Mont D’Or closed because of bankruptcy. Torres García decided to remain in Tarrasa, where he planned and decorated what would be his residence, Mon Repòs. On 10 December 1915 at Mon Repòs, his third child, a daughter was born, and was baptized as Ifigenia. In 1917 he met the Uruguayan painter Rafael Barradas, a key figure in his life who was the catalyst of his artistic evolution towards abstract art, approaching contemporary art while complementing it with tradition.

After the death of Prat de la Riba, the work of decorating the Salón de Sant Jordi was immediately suspended; hence, so was his commission. To fill in the loss of income, he began a new activity, the manufacture of toys.

[edit] 1919-1932. New York and Paris

During 1919 he met and spent time with such personages as Joan Brossa, J. V. Foix, and Joan Miró, and began to give private drawing and painting classes; among his new clients was Sigfried Ribera, son of the composer. In 1920, Torres García left with his family for Paris. He never returned to Barcelona. From there he embarked for New York City, where he met Spaniards such as Rafael Sala, Joan Agell and Claudio Orejuela, as well as Max Weber, the musician Edgar Varèse, Charles Logasa, John Xcéron, the sisters Whitney, the painters Joseph Stella, David Karfunkle and Marcel Duchamp and the Tawsend couple, who put him in contact with the Society of Independents Artists founded by Katherine Dreier, Marcel Duchamp and Man Ray.

However, lacking income, he decided to return to Europe, specifically Italy, to rededicate himself to the manufacture of toys, founding the Aladdin Toy Company, which received important orders from the Dutch company Metz & Co. In 1924 his fourth child, Horacio, was born in Livorno, Italy. Charles Logasa urged him to paint in fresco with the intent of organizing an exposition in Paris and in view of the positive reviews he decided to move to Paris in 1926 with his family. In 1928, he and Jean Helión, Alfred Aberdam, Pierre Daura and Ernest Engel Rozier put on the exhibition Cinq refusés par le jury du salón d’Automne ("Five refused by the jury of the Autumn Salon"). Among the attendees was Theo Van Doesburg, with whom he initiated a great friendship and extensive collaboration.

In this period he met Michel Seuphor who introduced him to Jean and Sophie Arp, to Adya and Otto Van Rees, to Luigi Russolo and to Georges Vantogerloo;he was promptly admitted to the gatherings of this group, which had Mondrian at its head. These gatherings formed the principal nucleus of the future group Cercle et Carré, promoter of the first exposition of constructivist and abstract art in 1930, and publisher of a magazine also called Cercle et Carré. Torres García brought to constructivism the order and logic of composition brought by rules such as the golden ratio, and the inclusion of symbolic figures representing man, knowledge, science, and cities.

[edit] 1934-1949. Montevideo. Last days

In 1932 he left Paris because of the economic crisis and took up residence in the Madrid of the Second Spanish Republic, establishing in 1933 the Grupo Constructivo, with whom he exhibited in the Autumn Salon. The group wrote three texts called Guiones ("Guides"), which reflected the spirit in which the group was born, in which the constructivist influence of Torres García is appreciable.

In 1934, a year and a half after his arrival, he decided to return finally to Uruguay, to his native Montevideo, where he was received as a member of the European artistic elite. He immediately showed his avant garde artistic theories in a country anchored in the conservative Europeanized taste that imposed the epithet of quality on all that was imported from the old continent, turning him immediately into a controversial person.

He established the Sociedad de las Artes del Uruguay with the purpose of integrating all of the arts and of acting as a nexus among artists and the public. He presented the first retrospective of his work, in which his oldest son Augusto also participated, and began to give classes on the history of art at the Escuela Taller de Artes Plásticas. He rented a space at 1037 Calle Uruguay, which he converted into an exposition space, known as Estudio 1037, and organized a first art exhibition featuring Uruguayan artists Carmelo de Arzadum, Gilberto Bellini, José Cúneo, Luis Mazzey, Bernabé Michelena, Zoma Baitler, Carlos Prevosti, Augusto Torres-García and himself, as well as foreigners Germán Cueto, Daura, Ernest Engel Rozier, Glycka, Jean Helión, Luc Lafnet, Charles Logasa, O. Van Rees and Eduardo Yepes.

In 1934 Torres García was named honorary professor of the Faculty of Architecture of Montevideo and in 1935 he published his book Estructura. He established the Asociación de Arte Constructivo (AAC), impregnated with the spirit of a strictly American art. There he encountered Rosa Acle, J. Álvarez Marqués, Carmelo de Arzadum, Alfredo Cáceres, María Cañizas, Luis Castellanos, Amalia Nieto, Héctor Ragni, Lia Rivas, Carmelo Rivello, Alberto Soriano, Augusto Torres, Horacio Torres and Nicolás Urta. The first issue of the magazine Círculo y Cuadrado appeared in 1936, as a continuation of Cercle et Carré. Seven issues of this publicity organ of the AAC were published between then and 1938, as well as a final special issue in December 1943. Its watchword was "Total intransigence against naturalism." Torres maintained an intense teaching activity from 1934 to 1938, but it did not result in what he hoped and it brought into question the continuation of the AAC in the terms in which it had been defined up to this time.

In 1938, Torres García's work began to show the influence of Pre-Columbian and indigenous art, as can be seen in his work Monumento Cósmico, which juxtaposes figures such as appear in his work executed in Paris—figures that make reference to man and cities—with those taken from indigenous South American tradition.

In 1940 the AAC published the book 500ª conferencia ("500^th Conference"), which gathered together all of the talks Torres García had given in Montevideo since his return, and announced the end of the series. His disappointment regarding the creation of this group and its failure resulted in his publication of the manuscript La ciudad sin nombre ("The nameless city"), in which Torres García wrote reflecting his disillusion with the situation of his life.

His loss of hope for the prospect of implanting Constructivist art in Uruguay, brought him to propose a return to figuration, rescuing the use of constructivism and using the cultural symbology of the native Indians. In 1943 he founded the Taller Torres García or Taller del Sur ("Workshop of the South"), composed of young artists. The following year, Torres García and his students undertook a commission to paint constructivist murals in the Martirené pavilion of the Hospital de Saint Bois on the outskirts of the capital. They executed a total of 35 murals, of which Torres García painted the six largest while supervising the remainder. In 1944, he was given the Premio Nacional de Pintura ("National Prized for Painting") in a great tribute ceremony with the participation of Pablo Picasso, Gregorio Marañón, Pablo Neruda, Jacques Lipchitz, Georges Braque and Amédée Ozenfant, and published Universalismo Constructivo (constructive universalism), a work about his own theory of the same name.

I said School of the South; because our North is really the South. There should be no North, for us, except in opposition to our South. So we now turn the map upsidedown, to give us a fair idea of our position, and not as they wish in the rest of the world. The point of America, from now on, prolonging itself, insistently signals the South, our north.

—Joaquín Torres García. Universalismo Constructivo, Buenos Aires: Poseidón, 1941.^[1]

In 1945 he published the first issue of the magazine Removedor, the fighting organ of the Taller Torres-García, which served as a place to debate criticisms of his works and those of his students, and as a publicity tool.

After his death in Montevideo 8 August 1949, the studio continued to function under the direction of some of its most distinguished students, until it finally closed in 1962 (although there is some controversy with respect to this date). The last official publication of the studio, in January 1961, was the third issue of the magazine Escuela del Sur ("The School of the South") which had replaced Removedor, whose final issue, number 28 was in July-August 1953.

Torres García's call to artists not to renounce being Latin Americans, and to try to adapt to the contemporary mainstream while investigating on their own artistic path at the same time, brought a new dimension to the construction of a modern and American language, constituting one of the defining episodes of the Latin American avant garde.

[edit] Works

[edit] Writings

• Augusta et Augusta (Augusta and Augusta), 1904, Barcelona, Universitat Catalana.
• Dibujo educativo en el colegio Mont D’Or (Educational drawing at Mont D'Or school), 1907, Barcelona.
• Notes sobre Art (Notes about art), 1913, Barcelona.
• Diàlegs (Dialogues), 1914.
• Descubrimiento de sí mismo (Self discovery), 1914.
• Consells als artistes (Advices to artists), 1917, Barcelona, Un enemic del poble.
• Em digué tot aixó, Barcelona, La Revista, 1917
• D’altra orbita, Barcelona, Un enemic del poble, 1917
• Devem Caminar, Barcelona, Un enemic del poble, 1917
• Art-Evolució, Barcelona, Un enemic del poble, 1917
• El Públic i les noves tendéncies d’art, Barcelona, Velli nou, 1918
• Plasticisme, Barcelona, Un Enemic del poble, 1918
• Natura i Art, Barcelona, Un Enemic del poble, 1918
• L’Art en relació al home etern i l’home que passa, Sitges, Imprenta El eco de Sitges. 1919
• La Regeneració de si mateix, Barcelona, Salvat Papasseit Editor, 1919
• Foi, París, 1930
• Ce que je sais, et ce que je fais par moi-même, Losones, Suiza, 1930
• Pére soleil, París, Fundación Torres García, 1931
• Raison et nature, Ediciones Imán, París, 1932
• Estructura, Montevideo, 1935
• De la tradición andina: Arte precolombino, Montevideo, Círculo y cuadrado, 1936
• Manifiesto 2: Constructivo 100 %, Montevideo, Asociación de Arte Constructivo, 1938
• La tradición del hombre abstracto (Doctrina constructivista). Montevideo, 1938
• Historia de mi vida. Montevideo, 1939
• Metafísica de la prehistoria indoamericana, Montevideo, Asociación de Arte Constructivo, 1939
• Manifiesto 3, Montevideo, Asociación de Arte Constructivo, 1940
• La ciudad sin nombre. Montevideo, Uruguay, Asociación de Arte Constructivo, 1942
• Universalismo Constructivo, Montevideo, 1944
• Con respecto a una futura creación literaria y dos poemas, Divertimento 1 y Divertimento 11, Montevideo, Revista Arturo, 1944
• La decoración mural del pabellón Martirené de la colonia Saint Bois. Pinturas murales del pabellón hospital J.J. Martirené de la colonia Saint Bois (con Esther de Cáceres, Carmelo de Arzadum, Alfredo Cáceres, Pablo Purriel, Juan R. Menchaca, y Guido Castillo). Montevideo, Gráficas Sur, 1944
• En defensa de las expresiones modernas del arte, Montevideo, 1944
• Nueva escuela de arte de Uruguay. Montevideo, Asociación de Arte Constructivo, 1946
• La regla abstracta. Montevideo, Asociación de Arte Constructivo, 1946
• Mística de la pintura, Montevideo, 1947
• Lo aparente y lo concreto en el arte, Montevideo, 1948
• La recuperación del objeto, Montevideo, 1948

[edit] Pictures

• La colada (The laundry), oil on canvas, 1903, Museo Nacional de Artes Plásticas y Visuales. Montevideo.
• La casa del lavadero (The house of the laundry room), oil on canvas on wood, 1903, Museo Abadía de Montserrat. Barcelona.
• El pintor con su familia (The painter with his family), oil on canvas, 1917, Museo Abadía de Montserrat. Barcelona.
• Hoy, tempera sobre cartón (Today, tempera on cardboard), 1921, private collection. Valencia.
• Escena callejera en Nueva York (Street scene in New York), oil painting, 1921.
• Paisaje de ciudad (City landscape), oil on cardboard, 1928.
• Nueva York (New York), oil on canvas, 1929, Museo Abadía de Montserrat. Barcelona.
• Composición simétrica universal (Universal symmetrical composition), oil on canvas, 1931, Eduardo Constantini Collection. Buenos Aires.
• Constructivo con campana (Constructive with bell), 1932, oil on canvas, Museo Tamayo Arte Contemporáneo.
• Composición en rojo, blanco y negro (Composition in red, white and black), 1938.
• Suburbio (Suburb), oil on cardboard, 1938, Museo Blanes. Montevideo.
• Arte Universal (Universal art), oil on canvas, 1943.

[edit] Murals

• Decoración mural de la Capilla del Santísimo Sacramento y de Montserrat de la Iglesia de San Agustín, Barcelona, 1904
• Decoración mural del ábside de la iglesia de la Divina Pastora, Sarriá, Barcelona, 1906
• Decoración mural del despacho de Hacienda del Ayuntamiento de Barcelona. Barcelona, 1908
• Decoración mural del pabellón del Uruguay en la exposición universal con las alegorías Ganadería y Agricultura, Bruselas, 1910
• Palas introduciendo a la Filosofía en el Helikon como Xª Musa, Barcelona, 1911
• La Cataluña eterna, decoración mural del salón San Jorge, Palacio de la Generalitat, Barcelona, 1915
• La edad de oro de la humanidad, decoración mural del salón San Jorge, Palacio de la Generalidad, Barcelona, 1915
• Las musas o Las artes, decoración mural del salón San Jorge, Palacio de la Generalidad, Barcelona, 1916
• Lo temporal no es más que símbolo, decoración mural del salón San Jorge, Palacio de la Generalidad, Barcelona, 1916
• Decoración mural de Mon Repós, Tarrasa, Barcelona, 1915
• Decoración mural del domicilio Badiella, Tarrasa, Barcelona, 1916
• Maternidad, Clínica del Doctor Rodríguez López, Montevideo, 1944
• Forma, Decoración mural constructiva, pabellón Martirené del Hospital de Saint Bois, Montevideo, 1944
• El pez, Decoración mural constructiva, pabellón Martirené del Hospital de Saint Bois, Montevideo, 1944
• Pax in lucem, Decoración mural constructiva, pabellón Martirené del Hospital de Saint Bois, Montevideo, 1944
• El tranvía, Decoración mural constructiva, pabellón Martirené del Hospital de Saint Bois, Montevideo, 1944
• El sol, Decoración mural constructiva, pabellón Martirené del Hospital de Saint Bois, Montevideo, 1944
• Locomotora Blanca, Decoración mural constructiva, pabellón Martirené del Hospital de Saint Bois, Montevideo, 1944
• Pachamama, Decoración mural constructiva, pabellón Martirené del Hospital de Saint Bois, Montevideo, 1944

[edit] Sculptures

• Padre Inti; Pachamama; Idea (Father Inti, Pachamama, Idea). Painted wood. Montevideo, 1944

[edit] Bibliography

• JOAQUÍN TORRES GARCÍA; ESTHER DE CÁCERES; CARMELO DE ARZADUM; ALFREDO CÁCERES; PABLO PURRIEL; JUAN R. MENCHACA Y GUIDO CASTILLO, La decoración mural del pabellón Martirené de la colonia Saint Bois. Pinturas murales del pabellón hospital J.J. Martirené de la colonia Saint Bois. Gráficas Sur. Montevideo, 1944.

• CLAUDE SCHAEFER, Joaquín Torres García. Editorial Poseidón. Biblioteca Argentina de Arte. Buenos Aires, 1945.

• Torres García, Joaquín (1941), La ciudad sin nombre, Montevideo: Asociación de Arte Constructivo .

• Torres García, Joaquín (1967), La regla abstracta, Buenos Aires . Facsimile edition. Originally published by Asociación de Arte Constructivo como parte de la Nueva Escuela de Arte de Uruguay. Montevideo, 1946.

• Torres García, Joaquín (1946), Nueva escuela de arte de Uruguay, Montevideo: Publicaciones de la asociación de arte constructivo .

• Torres García, Joaquín, Lo aparente y lo concreto en el arte, Centro Editor de América Latina, Biblioteca Uruguaya Fundamental . Capítulo 41. Plaza de la Independencia, 1374, Montevideo. Uruguay. Avda. de Mayo 1365, Buenos Aires. Argentina. 1948.

• JORGE ROMERO BREST, Pintores y grabadores rioplatenses. Editado por Argos. Cordoba, Buenos Aires, 1951.

• JOAQUÍN TORRES GARCÍA, La recuperación del objeto (Lecciones sobre plástica). Editado por la Biblioteca Artigas. Colección de Clásicos Uruguayos. Tomo I y II, correspondientes a los números de la colección 75 y 76. Montevideo, 1965.

• J.F. RÀFOLS, Diccionario biográfico de artistas de Cataluña. Torres-García, Joaquín, Tomo III, pág. 153. Barcelona, Milà, 1966.

• JOAQUÍN TORRES GARCÍA, La tradición del hombre abstracto (Doctrina constructivista), Editado por la comisión de Homenajes a Torres García (Ministerio de Educación y Cultura de la República Oriental del Uruguay) Edición facsimilar del original de 1938. Montevideo, 1969.

• DANIEL ROBBINS, Joaquín Torres-García, 1874-1949. Editado por Museum of Art Rhode Island School of Design. Providence, 1970. ISBN 0911517235

• ENRIC JARDÍ, Torres García. Editorial Polígrafa, S. A., Balmes, 54 – 08007, Barcelona, 1973. ISBN 84-343-0180-6

• JOAQUÍN TORRES GARCÍA, Raison et nature. Editado por la comisión de homenajes a Torres García del Ministerio de Educación y Cultura de Uruguay. Montevideo, 1974. Primera Edición Ediciones Imán. París, 1932.

• Joaquín Torres García. Bibliografía. Centenario de su nacimiento. 1874-28 de julio-1974 Edita comisión de Homenajes a Torres García (Ministerio de Educación y Cultura de la República Oriental del Uruguay) Montevideo, 1974.

• JACQUES LASSAIGNE, ANGEL KALENBERG, MARIA ELENA VIEIRA DA SILVA, MICHEL SEUPHOR, JEAN HÉLION, PABLO SERRANO, Torres-García. Construction et symbols. Editado por el Museo de Arte Moderno de la Villa de París. Catálogo de la exposición realizada entre junio y Agosto de 1975. París, 1975.

• JOAQUÍN TORRES GARCÍA, Escrits sobre art. Ediciones 62 y La Caixa. Barcelona 1980.

• JACQUES LASSAIGNE, Torres-García. Obras destruidas en el incendio del museo de arte moderno de Río de Janeiro, Editado por la Fundación Torres García. Montevideo, Uruguay. 1981.

• JOAQUÍN TORRES GARCÍA, Universalismo constructivo. Ediciones Alianza Forma,. Números 42 y 43. Madrid 1984.

• GUIDO CASTILLO, Augusto Torres, Edited by Scala Books with the Archer M. Huntington Art Gallery of the University of Texas at Austin. Redactado por Elizabeth K. Fonseca, Italia, 1986.

• MARGIT ROWELL, THEO VAN DOESBURG, JOAQUIN TORRES GARCIA Y CECILIA BUZIO DE TORRES, Torres García: Estructura-Dibuix-Símbol. París-Montevideo 1924-1944 Edited by Foundation Joan Miró. Catálogo de la exposición en la Fundació Joan Miró, Parc de Montjuic en Marzo de 1986. Barcelona, 1986.

• ANGEL KALENBERG, Seis Maestros De La Pintura Uruguaya: Juan Manuel Blanes, Carlos Federico Saez, Pedro Figari, Joaquin Torres García, Rafael Barradas y José Cúneo. Edited by Museo Nacional de Bellas Artes de Buenos Aires. Catálogo de la exposición realizada entre Septiembre y Octubre de 1987. Avda. del Libertador, 1473. Buenos Aires, 1987. Pinted in Montevideo, 1987.

• ALICIA HABER Y CECILIA TORRES, Joaquín Torres García. Cataluña eterna. Bocetos y dibujos para los frescos de la Diputación de Barcelona. Edited by Foundation Torres García. Montevideo. Uruguay, 1988.

• MARÍA JESÚS GARCÍA PUIG, Joaquín Torres García y el Universalismo Constructivo: La enseñanza del arte en Uruguay. Ediciones de cultura Hispánica. Colección Arte. Madrid, 1990. ISBN 84-7232-558-X

• JOAQUIN TORRES GARCIA, Joaquín Torres-García. Historia de mi vida. Ediciones Paidós Ibérica, S.A. Colección Paidós testimonios, Mariano Cubí, 92 – 08021 Barcelona, 1990.

• CECILIA TORRES Y MARI CARMEN RAMÍREZ, La escuela del sur, Editado por el IVAM y el Museo Nacional Centro de Arte Reina Sofía. Catalogo de la exposición que tuvo lugar en el Museo Nacional Centro de Arte Reina Sofía en Madrid, entre junio y Agosto de 1991, y en el IVAM de Septiembre a Noviembre de 1991.

• JORGE CASTILLO, NICOLETTE GAST, EDUARDO LIPSCHUTZ-VILLA, Y SEBASTIÁN LÓPEZ, The antagonistic link. Joaquín Torres García-Theo Van Doesburg. Editado por Institute of Contemporary Art. Ámsterdam, 1991.

• MARI CARMEN RAMÍREZ, CECILIA BUZIO DE TORRES, JUAN FLÓ, ANNA RANK, JOAQUÍN TORRES GARCÍA, JACQUELINE BARNITZ Y FLORENCIA BAZZANO NELSON, El Taller Torres García. The School Of The South And Its Legacy, Catálogo de la exposición realizada en The Archer M. Huntington Art Gallery de Austin en 1992 Edita The Archer M. Huntington Art Gallery, College of Fine Arts, The University of Texas at Austin. Austin, 1992.

• NELSON AGUILAR, JORGE CASTILLO Y EDEMAR CID FERREIRA, Joaquín Torres García. Catálogo de la Exposición monográfica de Torres García en la XXII Bienal Internacional de São Paulo, que tuvo lugar entre Octubre y Diciembre de 1994 en dicha ciudad. Editado por la Bienal Internacional de São Paulo, São Paulo, 1994.

• PEDRO DA CRUZ, Torres García and Cercle et Carré. The creation of constructive universalism. París 1927-1932. Editado por Hansson & Kotte Trickery AB. Ystad, 1994.

• PILAR GARCÍA-SEDAS, Joaquín Torres García y Rafael Barradas. Un dialeg escrit: 1918-1928. Publicacions de l’Abadia de Montserrat. Barcelona, 1994. ISBN 84-7826-531-7

• JOAN SUREDA PONS, NARCISO COMADIRA Y MERCEDES DOÑATE, Torres García: Pintures de Mon Repos, Editado por el Museo de Arte moderno del Museo de Arte de Catalunya y la Caixa de Tarrasa. Catalogo de la exposición que tuvo lugar en el museo de arte moderno del MNAC, y en la Fundación Cultural de la Caixa de Tarrasa. Barcelona, Enero de 1995.

• PONTUS HULTEN, LAMBERT WEYL, Constructivist Design. Edited by Galerie Lambert Weyl, Paris, 1958. Printed in Paris, 1958.

• PILAR GARCÍA-SEDAS, Joaquim Torres García. Epistolari Català: 1909-1936. Curial Edicions Catalanes. Publicacions de l’Abadia de Montserrat, Barcelona, 1997. ISBN 84-7826-839-1

• JOAN SUREDA PONS, Torres García. Pasión Clásica. Ediciones Akal / Arte contemporáneo. Número 5. Madrid, 1998. ISBN 84-460-0814-9

• CARLOS PÉREZ, PILAR GARCÍA-SEDAS, CECILIA BUZIO DE TORRES, MARIO H. GRADOWCZYK Y EMILIO ELLENA, Aladdin Toys. Les joguines de Torres García. Editado por el IVAM. Catalogo de la exposición que tuvo lugar en el Instituto Valenciano de Arte Moderno en septiembre de 1998.

• MIGUEL ANGEL BATTEGAZZORE, La trama y los signos, Impresora Gordon, s.a. Av. General Rondeau 2485, Montevideo, 1999.

• GABRIEL PELUFFO LINARI, Historia de la pintura uruguaya. Ediciones de la banda oriental S.R.L. Gaboto 1582. Montevideo 11200. Uruguay, 1999 Tomo 1 El imaginario Nacional-regional (1830-1930) de Blanes a Figari Tomo 2 Entre localismo y universalismo: Representaciones de la modernidad (1930-1960).

• PILAR GARCÍA-SEDAS, Joaquín Torres-García y Rafael Barradas. Un diálogo escrito: 1918-1928. Ediciones Parsifal y Libertad libros. Parsifal Ediciones, Marzo 2001, Vallseca, 39 – 08024 Barcelona, Libertad libros, Libertad, 2433 – 08024 Montevideo. ISBN 84-95554-04-6

[edit] Notes

[edit] References

• This article draws heavily on the corresponding article in the Spanish-language Wikipedia, which was accessed in the version of December 2007. It was translated by the Spanish Translation of the Week collaboration.

[edit] External links

• Museo Torres García - Montevideo.
• Joaquín Torres García y La Escuela del Sur.
• Cronología del Taller Torres García.
• La colección Gerstenmaier
• Art Neutre?