Joaquin Torres-Garcia. (Montevideo, 1874-1949.)
“Construction in white and black”. 1932.
Oil on canvas.
Measures: 75x 60 cm
Without a framework.
Signed and dated bottom center.
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The original work of the author as expert: 4465.REPORT.T0000301-A. 12.2019, the fabric denotes a restoration later and a little break view from the rear, which has been reentelada. We were able to observe up to what point is touched and retouched with UV light, and we can state, that the work has not been retouched later in one way or another. The signature agrees with the file and year. The frame seems of the time, and it is evident by the wear of the parts that are most affected by the friction of the framework, are consistent, the antiquity of the work by the state of the canvas and nails. The work, according to the report, is evidence of the antiquity and approximates the estimate in line with the date is also set in the source.
Joaquín Torres-García, artist, muralist, illustrator, sculptor, theorist and teacher, was born on 28 July 1874 in Uruguay, where he spent his childhood and adolescence, before moving to Spain with his family in 1891. The Torres-García spent a brief season in Sacramento before moving to Barcelona, where Joaquin was enrolled in the Academy of Fine Arts and at the Academia Baixas. It is in principle formed in the traditional way, by studying the neo-classical art; maybe it was this that led him to renounce an academic formation and to look for an experience more self-taught. Since 1893 he has a personal artistic quest that, in general, gained new impetus with the conversations which he held with Pijoan, Zulueta and Marquina at the Cercle de Sant Lluc, and from 1897, the members of the bohemian café Els Quatre Gats. Torres-Garcia, highly influenced by the graphic work of Toulouse-Lautrec, who had had occasion to contemplate the exhibition of the same was held in 1896, in the Sala Parés of Barcelona, he began to work as an illustrator in a number of books and periodicals, among which we can cite the magazines Popular Magazine, and Barcelona Cómica and the work of Jacinto Benavente and The literary life. In 1897, the artist exhibited a few drawings in the gallery's avant-Garde and, in 1901, presented a series of romantic landscapes, which he had executed for the magazine of Utrillo Pèl i Ploma, in the Paris Salon. At the beginning of the century, Torres-García was a painter, muralist and talent, as underlined by Eugeni D'ors in a 1905 article published in El Poble Català.
The flourishing artistic milieu that he lived in Barcelona and its peculiar modernism led Torres-García to collaborate with Antonio Gaudí in the construction of a series of stained glass windows for the cathedral of Palma de Mallorca and the Sagrada Familia (1903-1904). In 1910, while he was working on two major mural panels for the Exposition Universelle in Brussels, Joaquín Torres-García had the opportunity to know and admire the monumental classicism of Pierre Puvis de Chavannes. The following year, on the occasion of the VI Exhibition d'art of Barcelona, the critics defined him as one of the most significant representatives members of Noucentisme. In 1912 he was commissioned the frescoes for the decoration of the Saló Sant Jordi in the Palau of the Generalitat, that were exacerbated comments among the critics. Torres-García retired to Terrassa, where he created the Escola de Decoració, he devoted himself to teaching and published Notes on art in 1913 and Diálegs in 1915. On the basis of an artistic approach more personal, executing paintings that, by its composition markedly geometric, heralding his constructivist style of maturity. In the meantime, every time are more the exhibitions, both in Spain and abroad. In 1920 the artist and his family moved to New York, where Joaquin is dedicated during a season to design toys. Again in Europe, in 1928, Torres-García met Piet Mondrian in Paris and founded the group Cercle et Carré, which however is away a few years later. In 1934, the artist decided to return to Uruguay, where he lived the rest of his life, dedicated to the task of introducing the european avant-garde and developing his constructive universalism universal through the foundation of the asociacion de Arte Constructivo and the Taller Torres-García. In that time he executed the cosmic Monument (1938, Montevideo) and published Constructive Universalism (1944), his theoretical work of most importance. Joaquín Torres-García died in Montevideo 8 August 1949.
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