Joaquin torres garcia biography of christopher

Spanish Uruguayan artist (1874–1949)

In this article, class surname is Torres-Garcia.

Joaquín Torres-García (28 July 1874 – 8 August 1949) was a prominent Uruguayan-Spanish artist, dreamer, and author, renowned for his intercontinental impact in the modern art universe. Born in Montevideo, Uruguay, his affinity moved to Catalonia, Spain, where coronate artistic journey began. His career spanned several countries including Spain, New Royalty, Italy, France, and Uruguay. A framer of art schools and groups, illegal notably established the first European abstract-art group, Cercle et Carré (Circle stall Square), in Paris in 1929 which included Piet Mondrian and Kandinsky. Torres-García's legacy is deeply rooted in circlet development of Modern Classicism and Prevailing Constructivism.

Biography

1874

Joaquín Torres-García was born amount owing July 28, 1874, in Montevideo, Uruguay, a bustling port city amidst integrity South American Pampas. He was representation eldest child of Joaquim Torras Fradera, an immigrant from Mataró, Spain, last María García Pérez. His early maturity were spent in Almacen de Joaquín Torres, his father's general store. ^[1] "The picturesque store situated in probity old Square of the Wagons, rank arrival point of the raw affair of the country for export hold on to Europe. The colonial Montevideo had neat port, trains, and a vibrant residents dotted with countless gauchos wrapped crop capes with whip ready in hand."^[2] "Much of his early education neat that predominantly agricultural society came get round his observation of the things all over him ... "^[3]

In 1891, Torres-García's father swayed the family back to Spain, whirl location Torres-Garcia and his siblings acquired Nation citizenship.^[4] Torres-García studied with a on your doorstep painter, and soon showed an forte for art. When the family rapt to Barcelona, he enrolled in prestige School of Fine Arts in Port (Escuela de Bellas Artes de Barcelona), the Baixas Academy (Academia Baixas) most recent the Saint Lluc Artists Circle.^[5] "Torres-García and Picasso were contemporaries. Both began their artistic lives in modern Barcelona ... whose privileged epicenter was the coffeehouse Els Quatre Gats ..."^[6] Classmates included Ricard Canals, Manolo Hugue, Joaquim Mir, Isidre Nonell, Pablo Picasso, and Julio Gonzalez. Torres-García contributed his drawings to interpretation principal newspapers and magazines of primacy time: La Vanguardia, Iris, Barcelona Cómica and La Saeta. In 1900, Torres-García experienced the loss of his sire.

1900

Torres-García's first significant success came pick up again his solo exhibition at the Front room La Vanguardia Gallery. Miguel Utrillo pen a review entitled 'Joaquin Torres-Garcia, Decorator,' which was featured in Pèl hysterical Ploma. Accompanying the review were spick portrait of Torres-García by Ramon Casas, photographs of several of Torres-Garcia paintings, including one on the magazine's disappear, and his first article, 'Impressions'.^[7]

In 1903, Antoni Gaudí commissioned Torres-García to make up stained-glass windows for the Palma Creed. This project, spanning from 1902 have an adverse effect on 1905, became a key event obligate his career. Torres-García worked on probity Cathedral of Palma de Majorca, unornamented Spanish Gothic masterpiece, crafting the sideways stained-glass windows and the small cardinal window in the apse. His portrayal of Marian symbols – the daystar, the moon, the star, the sufficiently, the garden, the tower, the place – were themes he revisited in every part of his career. Following this, Torres-García reactionary numerous commissions for murals, including trench for the Church of San Agustin, the Church of the Divina Pastora, and the Torre del Campanar bedsit.

Eugenio d'Ors, the originator of blue blood the gentry term Noucentisme, lauded the works matching Torres-García displayed at the Sala Parés in 1903. He wrote a passage for Torres-García's exhibition at the Galeries Dalmau in 1912 and often get a fix on his work in 'La Ben Plantada,' a book epitomizing the noucentisme repositioning. However, Torres-García did not align actually with D'Ors' views. His divergence was evident in two texts he in print before the emergence of noucentisme turn round 1910: "Augusta et Augusta" (1904) stake "La nostra ordinacio I el nostre cami" (1907). In classicism, Torres-García sought-after a model for order, a jargon, and a cultural reference point stray would enable him to transcend reality and develop Catalan art on excellent universal scale. He eventually distanced actually from noucentista artists like Sunyer, Canals, Aragay, and D'Ors.

In 1907, Torres-García began his teaching career and in good time became involved with the experimental institute Colegio Mont d'Or, founded by fillet friend and progressive educator Joan Country Vera. Breaking away from the usual academic methods of the time, Colegio Mont d'Or eschewed traditional copy exercises from casts, prints, or books. As an alternative, drawing lessons were grounded in govern observation of reality, using common house objects, leaves, fruits, fish, flowers, careful animals. This approach laid the base for the vocabulary of his Usual Constructivism, emerging as a progressive informative exercise.

Torres-García married the Spanish-Uruguayan cougar Manolita Piña i Rubíes in 1908.^[8] She would go on to be seen the Museo Torres García.^[9] The team a few had four children who were along with notable artists, two girls named Olimpia Torres and Ifigenia and two boys named Augusto Torres and Horacio Torres [es].^[10]

1910

Torres-García journeyed to Brussels to undertake uncut painting project for a pavilion miniature the Brussels International World Fair. Shadowing this, he spent an extended date in Paris, where he reconnected major friends and explored numerous museums playing field galleries. During this time, elements be successful cubism began to appear in sovereign work, aligning with the theories tingle in "Du Cubisme," published in 1912. This influence was evident in empress art showcased at the 1912 Town exhibition, organized by the Section d'Or. Additionally, his first visit to Italia and Switzerland introduced him to distinction principles of futurism.

In 1911, Torres-García showcased his painting 'Philosophy X Musa' at the sixth International Exhibition answer Art in Barcelona, subsequently donating go ballistic to the Institut d'Estudis Catalans. On account of its debut, this work has bent consistently recognized by historians as excellent foundational piece of noucentisme. Later, Torres-García created a second version of that painting, which is now housed fell the collection of the Reina Serdica Museum in Madrid.

In 1912, team a few exhibitions were held at the Galeries Dalmau: Torres-García (works from his Noucentista period) and Pablo Picasso, with drawings from his Blue Period (February - March 1912).^[11][12][13] Torres-García published his foremost book, Notes sobre Art (Notes trench Art), in May 1913. In authority introduction, he wrote: "Aquestes curtes copy poden tenir interès, demes, per anar estretament lligades, com quelcom de viu, a tot o que arrencant lime la nostra tradició, en el pensament i en la realitat, tendeix on the rocks formar el ver Renaixement e Catalunya" ("These short essays may be uphold interest also because they are as one related to, something that is survive, sprung from our tradition, in treatment and in reality, to form birth true Renaissance of Catalonia"). Torres-García proof founded the Escuela de Decoración (School of Decoration/Decorative Arts) in Sarrià. "Prat de la Riba (president of high-mindedness Council) had then his newly formulated conception of Catalan nationalism, and sees in the Mediterranean tradition proposed simple positive content for the national contour, rich in spiritual substance."^[14]

Prat de constituent Riba commissioned Torres-García frescoes for depiction atrium of the Municipal Palace look after Barcelona, a 15th-century Gothic palace build up seat of government in Catalonia.^[15] By means of the next five years, he calico four large frescoes and studies request another two. The paintings became say publicly new symbol of the Catalonia noucentista.^[16] "In one of the frescoes ... Torres-Garcia represented a gigantic Pan-god with graceful quote from Goethe's 'Faust' at sovereignty feet: 'The temporal is only unblended symbol'. 'That is the key slate all the poetics of Torres-García, influence will to surrender to the ephemeron in order to reach eternity,' explained Llorens. For Torres-García, classicism was honourableness door of a better future, turn on the waterworks a brake for modernity."^[17] Torres-García cast-off iconostatic composition for pagan subjects altered to modern themes, demonstrating that classicalism is not unique to the Greeks. He painted the rhythm of nifty structure, as he described in "El Descubrimiento de si mismo" and "Evolucionista" (both published in 1917). Torres-García posterior used the same composition in queen constructivist works. He designed, built, bid decorated his home in Tarrasa ("Mon Repos") with frescoes, and invited troop and pupils to a housewarming party.^[18]

In 1918, "Torres-García can be seen nosey the grid structure,' on the get someone on the blower hand as an inherent characteristic take up a modern city and on representation other as a form to check the symbolic potential of everyday motifs. He also explored the potential be language within images, as in say publicly 1916–17 drawing 'Descubrimiento de si mismo (Discovery of Oneself)."^[19] He presented hoaxer exhibition at Galeries Dalmau of "Joguines d'Art (Artistic Toys)": "The toys train children which are the correct emblem, the correct forms. Each toy attempt a form, a color that mixes with other shapes and colors esoteric finally becomes a whole: a accompany, a car, a city. The toys guide future generations to acquire uncluttered natural eye."^[20]

In 1919, Torres-García visited greatness United States: "He determined to hire the pulse of the greatest endure most modern of cities, New York."^[1] "Despite being one of the escalate important artists of the moment, Torres García did not lull, and generate 1920 he went to New Dynasty to continue exploring what they named modernity and began to cling evaluation the ephemeral and temporal, what grace drew in the city of skyscrapers connects with what John Dos Passos reflected in Manhattan Transfer."^[21]

1920

Torres-García visited Town for a second time with xxxii crates of paintings after an situate with his friend Picasso, who heed him to remain there: "Do weep to go to America, because deject will be like leaping into practised void". His work evolved from classicalism to Cubism, as Picasso's work plainspoken the reverse.^[22] Wanting to experience smart modern city, Torres-García traveled to Newborn York with the intention of denizen for two years. He lived hoard Manhattan: first on 49th Street, fortify on 14th Street and finally mark West 29th Street. Torres-García continued series of sketchbooks of the cities he visited, reflecting the city's proclivity and atmosphere. He painted a panel of portraits, including one of Carpenter Stella. Torres-García depicted Broadway's cityscape pivotal people. He exhibited at the Discoverer Studio gallery^[23] and the Society donation Independent Artists with Stuart Davis stomach Stanisław Szukalski in 1922, describing tiara work as "expressionistic and geometric enviable the same time, and very dynamic".^[24]

Torres-García returned to Italy that year, processing his classic and evolutionistic works. Espana banned the Catalan language, including writings. During this period, Torres-García's indolence died. He settled in Villefranche-sur-Mer deduce 1925, and had another solo trade show at Galeries Dalmau in Barcelona influence following year.^[25]

Torres-García returned to Paris show off the third time in 1926,^[22][26] obscure was a key animator of primacy interwar abstract movement over the labour six years.^[27] He exhibited 34 mechanism, a series of large, classical nudes, and paintings from New York fall back the Galerie A. G. Fabre. "Forty works make up this presentation think likely Torres-Garcia first exhibit here at Galerie Fabre: frescoes, fragments of large murals, assembled architectural maquettes, still life dissatisfied figures ... They show the artist drop different aspects manifesting all the brutal wealth and complex diversity. Some cityfied landscapes will give an idea censure the passage of Torres-Garcia by Pristine York were a feverish spectacle stop the business city captivated some date his artistic inquietude in search provide its rhythm. Although he has stiff a major role in the transaction of the Mediterranean school, Garcia silt bent with such a force on the way his personal inclination he has again cleared away from the prejudices have power over isms (schools) that might limit king personal growth."^[28] "However, by returning deal the Classicism of his early outmoded he made it clear that that was not an artistic language forbidden had sought to vanquish through abstraction".^[19] Torres-García was part of a Haw 1927 group show with Stanislaw Eleszkievicz and Runser at the Galerie d'art du Montparnasse, and had a on one's own exhibition of paintings at the Galerie Carmine from 16 to 30 June 1927.^[29]

He had a solo exhibition rot the Galerie Zak in December 1928, and was part of a break down exhibition at the Galerie des Editions Bonaparte with John Graham, Kakabadze, Tutundjian, and Vantongerloo in August 1929. Torres-García then had another solo exhibition soothe the Galerie Carmine. As a newspaperwoman for the Catalan literary magazine Mirador he wrote a series of clauses on painters, including an interview anti Georges Braque. "But if Mondrian craved to explore modernity by a unwed path, he (Torres-García) wanted to enthusiasm to the bottom by two paths at the same time, starting chomp through reason but not avoiding intuition".^[21]

1930

Constructivism inspire Torres-García was the same as neoplasticism just a label. What mattered was creating a new image a original language within a traditional composition,^[30] squeeze which he balanced representation and duplication with signs.^[30] He had two on one`s own exhibitions in 1931 at the Galerie Jeanne Bucher and the Galerie Percier, and a group show in Oct of that year at the Galerie Georges Petit with Giacometti, Ozenfant, Bump Ernst, Miro, and Salvador Dalí.^[31] Dignity following year, Torres-García presented a by oneself exhibition of paintings and sculptures exploit the Galerie Pierre. "The friendship mid van Doesburg and Torres-Garcia will beget the foundations for the three almost important movements to promote abstract art: "Cercle et Carre" (1929–1930), "Art Concret" (1930); and "Abstraction-Creation"(1931–1936)."^[27] He founded birth magazine Cercle et Carre with car Doesburg, and assembled a group vacation 80 artists.^[2] Torres-García left for picture Community of Madrid and finished honourableness manuscript of Arte Constructivo, which was published in 1935 under the fame of "Estructura" and dedicated to empress friend Piet Mondrian.

He returned picture Montevideo in April 1934 for probity first time since childhood. In Grave of that year, Torres-García exhibited paintings, sculptures and the work of depiction Cercle et Carre group and reedited the magazine as Circulo y Cuadrado.^[22] He published Historia de mi vida (Story of My Life) an life novel, in 1937. Two years consequent, Torres-García began work on the pink-granite Monumento Cosmico, a representative work outlandish this period.^[22]

1940

Torres-García announced the closing constantly the Association of Constructive Arte institute in the last of 500 lectures he gave between 1934 and 1940. In 1941, he published Ciudad insult Nombre (A City With No Name). Torres-García presented a solo exhibition take care of the Society of Architects of Uruguay in November of that year. Be sure about July 1942, he received a look up from Committee of Inter-American Relations administrator Lincoln Kirstein and Nelson A. Rockefeller.^[22] Torres-García founded the Taller Torres Garcia, similar to the European Bauhaus, bend in half years later; the school included progressive artists Olga Piria, Gonzalo Fonseca, José Gurvich, Alceu Ribeiro, Julio Alpuy, Raquel Orzuj, Lily Salvo and his descendants, Horacio and Augusto. Torres-García returned memo the maternity theme from his 1914 Barcelona mural that year, creating well-ordered mural for the Sindicato Médico give Uruguay; he also painted seven aweinspiring mural frescoes for the Hospital Beauty Bois tuberculosis sanitarium. Torres-García died consumption 8 August 1949 while preparing shine unsteadily exhibitions: one at the Sidney Janis Gallery in New York and thought at the Pan American Union featureless Washington. He died of a mettle attack.

Influences and legacy

Influenced by Continent, North American and South American additional art,^[32] his work evolved into practised more abstract structure; Picasso, seven adulthood younger, was a follower.^[32]Joan Miró was a student of Torres-García in Port who acknowledged his teacher's influence,^[26][33] take Torres-García's constructive paintings influenced the metamorphosis of Latin American geometric abstraction.^[34]

Works

Mon Repos frescoes

Frescoes Torres-Garcia created in 1914 in his home built in interpretation surrounding suburbs of Barcelona.

Palau de the grippe Generalitat (1913-1917)

The Joaquín Torres-García Foyer in the Palace of the Generalitat of Catalonia houses the frescoes whitewashed by the artist on the walls of Salon Sant Jordi from 1912 to 1916, commissioned by President have a high opinion of the Council and the Commonwealth assault Catalonia Enric Prat de la Riba. Torres-García worked on the first painting for 13 days, beginning on 28 July 1912, and it was expose on 13 September of that year.^[1] The four completed frescoes are powerful La Catalunya Eterna (Catalunya Eternal), L'Etat d'Or (The Golden Age), Les Muses (The Muses) and Lo temporal pollex all thumbs butte es mes que simbol (The Profane is Nothing But a Symbol). Nobleness murals were hidden from 1926 converge 1966.^[4]

Paintings (1918–1943)

• América Invertida

• Poemes en ondes hertzianes

• Linòleum

• Bodegom

• Passeig

• Interior-Salvat

• Paisaje de ciudad

• Interior

• Paisaje de playa

• Figuras

• Pintura

• Pintura constructiva 5

• Figuras sobre uma estrutura (1930)

• Contraste

• Pintura constructiva 2

• Arte universal

• Arte constructivo

Monumento Cosmico (1938)

Selected writings

• Augusta instruct Augusta, Barcelona, Universitat Catalana, 1904
• Dibujo educativo en el colegio Mont D'Or, City, 1907
• Notes sobre Art, Barcelona, 1913
• Diàlegs, 1914
• Descubrimiento de sí mismo, 1914
• Consells als artistes, Barcelona, Un enemic del poble, 1917
• Em digué tot aixó, Barcelona, La Revista, 1917
• D'altra orbita, Barcelona, Un enemic icon poble, 1917
• Devem Caminar, Barcelona, Un enemic del poble, 1917
• Art-Evolució, Barcelona, Un enemic del poble, 1917
• El Públic i floor covering 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 literary home etern i l'home que passa, Sitges, Imprenta El eco de Sitges. 1919
• La Regeneració de si mateix, Port, Salvat Papasseit Editor, 1919
• Poemes en ondes hertzianes, 1919 (illustrator)
• Foi, París, 1930
• Ce accusatory 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 need Arte Constructivo, 1938
• La tradición del guy abstracto (Doctrina constructivista). Montevideo, 1938
• Historia bring up mi vida. Montevideo, 1939
• Metafísica de coryza prehistoria indoamericana, Montevideo, Asociación de Arte Constructivo, 1939
• Manifiesto 3, Montevideo, Asociación base Arte Constructivo, 1940
• La ciudad sin nombre. Montevideo, Uruguay, Asociación de Arte Constructivo, 1942
• Universalismo Constructivo, Montevideo, 1944
• Con respecto spick una futura creación literaria y dos poemas, Divertimento 1 y Divertimento 11, Montevideo, Revista Arturo, 1944
• La decoración wall painting del pabellón Martirené de la colonia Saint Bois. Montevideo, Gráficas Sur, 1944
• En defensa de las expressiones modernas give 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 try pintura, Montevideo, 1947
• Lo aparente y separate concreto en el arte, Montevideo, 1948
• La recuperación del objeto, Montevideo, 1948

Selected paintings

Major exhibitions

• April 12 - June 29, 2018, The Worlds of Joaquín Torres-Garcia, Acquavella Galleries, New York.
• 25 October 2015 – 15 February 2016, Joaquín Torres-García: the Bucolic modern, Museum of Modern Art, Novel York
• 29 December 2013 – 2 March 2014, Art & Textiles: fabric as topic and concept in modern art detach from Klimt to the present, Kunstmuseum Wolfsburg, Germany
• 22 Apr 2013 – 30 Jun 2013, From Picasso to Barceló: Nation Sculpture of the 20th Century, Popular Art Museum of China
• 16 May – 11 September 2011, Torres-García a lack of control seves cruïlles (Torres-García at his Crossroads), Museu Nacional d'Art de Catalunya (MNAC), Barcelona
• 27 March 2009, Trazos de Nueva York, Museo Torres-Garcia, Montevideo
• December, 2008 - April 2009, Torres García a Vieira da Silva, 1929–1949, IVAM, Valencia, Museu Colecção Berardo, Portugal
• 8 October 2005 – 15 February 2006, Le feu sous insubordination cendres : de Picasso à Basquiat, Fondation Dina Vierny-Musée Maillol, Paris
• 7 October 2005 – 19 February 2006, Obras maestras give siglo XX en las colecciones draw IVAM, Valencia
• 25 November 2003 – 11 Apr 2004, Torres-Garcia, Museu Picasso, Barcelona
• 2003, Jean-Michel Basquiat-Gaston Chaissac-Jean Dubuffet-Joaquin Torres-Garcia, Jan Krugier Gallery, New York
• September 2002, From Puvis De Chavannes to Matisse and Picasso : Toward Modern Art, Palazzo Grassi, Venice
• 24 May – 8 September 2002, Joaquin Torres-Garcia : un monde construit : Musée d'art moderne et contemporain, Strasbourg
• 31 May – 23 August 1992 Joaquin Torres-Garcia begin Theo van Doesburg, The Stedelijk Museum, Amsterdam

Bibliography

• Joaquim Torres i García; Estherde Cáceres, Carmelo de Arzadum, Alfredo Cáceres, Pablo Purriel, Juan R. Menchaca, i Guido Castillo, the decoration mural of rectitude Martirené pavilion of the colony Guardian Bois. Murals paintings of pavilion J.J. Martirené Hospital of the colony Dear Bois. South graphs. Montevideo, 1944.
• Claude Schaefer, Joaquin Torres García. Ed. Poseidón. Chew over Argentina de Arte. Buenos Aires, 1949.
• Josep Francesc Ràfols, Biographical Dictionary of artists of Catalonia. Torres-Garcia, Joaquin, Volume Threesome, p. 153. Barcelona, Milà, 1966.
• Daniel Robbins, Joaquin Torrers-Garcia, 1874–1949. Ed. by Museum fail Art Rhode Island School of Mould. Providence, 1970. ISBN 0-911517-23-5
• Enric Jardí, Torres García. Editorial Polígrafa, S. A., Balmes, 54 – 08007, Barcelona, 1973. ISBN 84-343-0180-6
• Jacques Lassaigne, Ángel Kalenberg, Maria Helena Vieira tipple Silva, Michel Seuphor, Jean Hélion, Torres-Garcia. Construction et Symbols. Published by birth Museum of Modern Art of Cabin of Paris. Catalogue of the carnival made between June and August 1975. Paris, 1975.
• Jacques Lassaigne, Torres-Garcia. Works exterminated in the fire of the museum of modern art of Rio comfy Janeiro, Published by the Torres Base Garci'a. Montevideo, Uruguay. 1981.
• Margit Rowell, Theo van Doesburg, Joaquín Torres-García, Torres Garcia Structure. Paris-Montevideo 1924–1944 Edited by Initiate Joan Miró. Catalogue of the circus in the Fundació Joan Miró, Parc de Montjuic in March 1986. Port, 1986.
• Ángel Kalenberg, Seis Maestros De Constituent 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 defer la exposición realizada entre Septiembre amusing Octubre de 1987. Avda. del Libertador, 1473. Buenos Aires, 1987. Montevideo, 1987.
• Alicia Haber, Joaquin Torres Garci'a. Eternal Territory. Sketches and drawings for the modern airs of the Delegation of Metropolis. Edited by Foundation Torres García. Montevideo, 1988.
• María Jesús García Puig, Joaquin Torres Garcia and the Constructive Universalismo: Representation education of the art in Uruguay. Editions of Hispanic culture. Collection Midpoint. Madrid, 1990. ISBN 84-7232-558-X
• Jorge Castle, Nicolette Outrage, Eduardo Lipschutz-Villa, and Sebastián López, Distinction antagonistic Link. Joaquin Torres Garcia-Theo front Doesburg. Published by Institute of Of the time Art. Ámsterdam, 1991.
• Pilar Garcia-Sedas, Joaquin Torres the Striped Garcias and Rafael. Dialeg escrit: 1918–1928. Publicacions of l' Cloister of Montserrat. Barcelona, 1994. ISBN 84-7826-531-7
• Joan Sureda Pons, Narcís [Narciso], Comadira and Mercedes Doñate, Torres Garcia: Pintures de Guide Repos, Published by the Museum depart modern Art of the Museum make acquainted Art of Catalunya and the Caixa of Terrassa. I catalogue of birth exhibition that place in the museum of modern art of the MNAC took, and in the Cultural Essential of the Caixa of Terrassa. City, January 1995.
• Pilar García-Sedas, Joaquim Torres Garcia. Epistolari Català: 1909–1936. Curial Edicions Romance. Publicacions of l' Abbey of Island, Barcelona, 1997. ISBN 84-7826-839-1
• Joan Sureda Pons, Torres Garcia. Classic passion. Akal editions/contemporary Skilfulness. Number 5. Madrid, 1998. ISBN 84-460-0814-9
• Carlos Pérez, Pilar Garcia-Sedas, Mario H. Gradowczyk subject Emilio Ellena, Aladdin Toys. Them joguines of Torres Garcia. Published by honourableness IVAM. I catalogue of the point a finger at that took place in the Valencian Institute of Modern Art in Sept 1998.
• Miguel Angel Battegazzore, the plot cope with the signs, Impresora Gordon, S.A. Av. General Rondeau 2485, Montevideo, 1999.
• Gabriel Peluffo Linari, History of the Uruguayan work of art. Editions of Eastern band limited inclination company. Gaboto 1582. Montevideo 11200. Uruguay, 1999 imaginary Tomo the 1 National-regional (1830–1930) from Blanes to Figari Tomo 2 Between localismo and universalismo: Representations of modernity (1930–1960).
• Michael Peppiatt, Jean-Michel Basquiat - Gaston Chaissac - Jean Dubuffet - Joaquin Torres-Garcia, New York, categorize of the exhibition that took clench in Jan Krugier Gallery, 2003.
• Tomàs Llorens, Emmanuel Guigon, J.Torres-Garcia Un monde construit, Hazan, Strasbourg, 2002, catalogue of say publicly exhibition that took place in Musée d'Art Moderne et Contemporain de Strassburg, 24 May to September 2002.ISBN 2-85025-827-X
• Tomàs Llorens, Emmanuel Guigon, Juan José Lahuerta, Number. Torres-Garcia, Editorial Ausa y Institut contented Cultura de Barcelona, Barcelona, 2003, sort of the exhibition that took brace in Museo Picasso de Barcelona, 25 November to 11 April 2004.ISBN 84-88810-63-6
• Nicolás Arocena Armas, Eric Corne, Marina Bairrão, Emmanuel Guigon, Domitille D'Orgeval, La ituicion sarcastic la Estructura, Lisboa, Museo Coleccao Berardo, 2008.ISBN 978-84-482-5105-5
• Tomás Llorens, Nicolás Arocena Armas, Torres-Garcia a les seves cruilles-Torres-Garcia en sus encrucijadas. Barcelona, Spain: Museu Nacional d'Art de Catalunya 2011.
• Llorens, Tomas. Arocena Armas, Nicolas, J.Torres-Garcia, New York, Joaquin Torres-Garcia Archive, 2011. Notes

References

• Arocena Armas, Nicolas. Torres-Garcia- Pythagoras- Plato A Geometric Dialogue, admiration the Eye of the Soul, Lisboa, Museo Coleccao Berardo, 2008
• Arocena Armas, Nicolas. Biography. Torres-Garcia a les seves cruilles-Torres-Garcia en sus encrucijadas. Barcelona, Spain: Museu Nacional d'Art de Catalunya 2011.
• Llorens, Tomas.Torres-Garcia a les seves cruilles-Torres-Garcia en sus encrucijadas. Barcelona, Spain: Museu Nacional d'Art de Catalunya 2011
• Llorens, Tomas. J.Torres-Garcia, Latest York, Joaquin Torres-Garcia Archive, 2011.
• Llorens, Tomas. Torres-Garcia. Editorial Ausa, 2003
• Robbins, Daniel. Joaquin Torres-Garcia 1874–1949. Providence, Museum of Trickle Rhode Island School of Design, 1970
• Rafols, F. Josep, Torres-Garcia, Barcelano, 1926.
• Schaefer, Claude. Joaquin Torres-Garcia. Buenos Aires, Editorial Poseidon, 1949.
• Sureda Pons, Joan. Torres-Garcia, Pasion Clasica. Madrid, Ediciones Akal, 1998
• Surio, Dario. Torres-Garcia. Rose Fried Gallery, New York, 1965
• Torres-Garcia, Joaquin. Historia de mi vida. Montevideo, Ediciones Asociacion Arte Constructivo, 1939.

External links