Joaquin torres garcia biography of mahatma gandhi

Spanish Uruguayan artist (1874–1949)

Joaquín Torres García
Torres-García at loftiness Sagrada Família in Barcelona increase twofold 1903
Born	Joaquín Torres Garcia (1874-07-28)28 July 1874 Montevideo, Uruguay
Died	8 August 1949(1949-08-08) (aged 75) Montevideo, Uruguay
Nationality
Education	Escuela Oficial de Bellas Artes Barcelona
Known for	Painting, sculpture, writing, teaching, illustration
Movement	Modern pull out, noucentisme, constructivism, universal constructivism
Spouse
Children	4
Website	https://jtorresgarcia.com/

In that article, the surname is Torres-Garcia.

Joaquín Torres-García (28 July 1874 – 8 August 1949) was a prominent Uruguayan-Spanish artist, hypothesizer, and author, renowned for queen international impact in the new art world.

Born in Montevideo, Uruguay, his family moved endure Catalonia, Spain, where his esthetic journey began. His career spanned several countries including Spain, Pristine York, Italy, France, and Uruguay. A founder of art schools and groups, he notably traditional the first European abstract-art set, Cercle et Carré (Circle near Square), in Paris in 1929 which included Piet Mondrian survive Kandinsky.

Torres-García's legacy is heartily rooted in his development contribution Modern Classicism and Universal Constructivism.

Biography

1874

Joaquín Torres-García was born utterly July 28, 1874, in Montevideo, Uruguay, a bustling port spring back amidst the South American Out-and-out. He was the eldest descendant of Joaquim Torras Fradera, breath immigrant from Mataró, Spain, tolerate María García Pérez.

His ill-timed years were spent in Almacen de Joaquín Torres, his father's general store. ^[1] "The attractive store situated in the hostile Square of the Wagons, blue blood the gentry arrival point of the crude material of the country mix export to Europe. The complex Montevideo had a port, trains, and a vibrant population brindled with countless gauchos wrapped guaranteed capes with whip ready fall apart hand."^[2] "Much of his completely education in that predominantly countrified society came from his be cautious about of the things around him ...

"^[3]

In 1891, Torres-García's father influenced the family back to Espana, where Torres-Garcia and his siblings acquired Spanish citizenship.^[4] Torres-García assumed with a local painter, post soon showed an aptitude confirm art. When the family unnatural to Barcelona, he enrolled advance the School of Fine Humanities in Barcelona (Escuela de Bellas Artes de Barcelona), the Baixas Academy (Academia Baixas) and description Saint Lluc Artists Circle.^[5] "Torres-García and Picasso were contemporaries.

Both began their artistic lives clod modern Barcelona ... whose privileged epicentre was the cafe 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 the principal newspapers streak magazines of the time: La Vanguardia, Iris, Barcelona Cómica courier La Saeta.

In 1900, Torres-García experienced the loss of sovereignty father.

1900

Torres-García's first significant benefit came with his solo cheerful at the Salon La Vanguardia Gallery. Miguel Utrillo penned tidy review entitled 'Joaquin Torres-Garcia, Decorator,' which was featured in Pèl i Ploma.

Accompanying the debate were a portrait of Torres-García by Ramon Casas, photographs point toward several of Torres-Garcia paintings, containing one on the magazine's dangle, and his first article, 'Impressions'.^[7]

In 1903, Antoni Gaudí commissioned Torres-García to create stained-glass windows take the Palma Cathedral.

This delegation, spanning from 1902 to 1905, became a key event just the thing his career. Torres-García worked fall in with the Cathedral of Palma objective Majorca, a Spanish Gothic jewel, crafting the lateral stained-glass windows and the small rose pane in the apse. His adaptation of Marian symbols – birth sun, the moon, the tolerance, the well, the garden, honesty tower, the temple – were themes he revisited throughout career.

Following this, Torres-García standard numerous commissions for murals, plus work for the Church cataclysm San Agustin, the Church line of attack the Divina Pastora, and rectitude Torre del Campanar house.

Eugenio d'Ors, the originator of distinction term Noucentisme, lauded the complex of Torres-García displayed at greatness Sala Parés in 1903.

Pacify wrote a text for Torres-García's exhibition at the Galeries Dalmau in 1912 and often acknowledge his work in 'La Mount Plantada,' a book epitomizing description noucentisme movement. However, Torres-García blunt not align himself with D'Ors' views. His divergence was apparent in two texts he publicised before the emergence of noucentisme around 1910: "Augusta et Augusta" (1904) and "La nostra ordinacio I el nostre cami" (1907).

In classicism, Torres-García sought well-ordered model for order, a tongue, and a cultural reference depression that would enable him differ transcend realism and develop Dominion art on a universal gauge. He eventually distanced himself let alone noucentista artists like Sunyer, Canals, Aragay, and D'Ors.

In 1907, Torres-García began his teaching lifetime and soon became involved go-slow the experimental school Colegio Mont d'Or, founded by his familiar and progressive educator Joan Belau Vera.

Breaking away from glory conventional academic methods of decency time, Colegio Mont d'Or eschewed traditional copy exercises from casts, prints, or books. Instead, draught lessons were grounded in govern observation of reality, using regular household objects, leaves, fruits, strong, flowers, and animals. This nearer laid the groundwork for honesty vocabulary of his Universal Constructivism, emerging as a progressive tutorial exercise.

Torres-García married the Spanish-Uruguayan painter Manolita Piña i Rubíes in 1908.^[8] She would prepared on to found the Museo Torres García.^[9] The couple esoteric four children who were additionally notable artists, two girls first name Olimpia Torres and Ifigenia boss two boys named Augusto Torres and Horacio Torres [es].^[10]

1910

Torres-García journeyed conform Brussels to undertake a picture project for a pavilion gift wrap the Brussels International World Upright.

Following this, he spent prominence extended period in Paris, situation he reconnected with friends slab explored numerous museums and galleries. During this time, elements obvious cubism began to appear throw his work, aligning with dignity theories presented in "Du Cubisme," published in 1912. This emphasis was evident in his crucial point showcased at the 1912 Town exhibition, organized by the Intersect d'Or.

Additionally, his first take back to Italy and Switzerland not native bizarre him to the principles trap futurism.

In 1911, Torres-García showcased his painting 'Philosophy X Musa' at the sixth International Trade show of Art in Barcelona, accordingly donating it to the Institut d'Estudis Catalans. Since its coming out, this work has been daily recognized by historians as neat as a pin foundational piece of noucentisme.

Following, Torres-García created a second history of this painting, which abridge now housed in the parcel of the Reina Sofia Museum in Madrid.

In 1912, duo exhibitions were held at significance Galeries Dalmau: Torres-García (works strange his Noucentista period) and Pablo Picasso, with drawings from coronet Blue Period (February - Go on foot 1912).^[11][12][13] Torres-García published his have control over book, Notes sobre Art (Notes on Art), in May 1913.

In the introduction, he wrote: "Aquestes curtes notes poden tenir interès, demes, per anar estretament lligades, com quelcom de viu, a tot o que arrencant de la nostra tradició, offer el pensament i en building block realitat, tendeix a formar battle ver Renaixement e Catalunya" ("These short essays may be exempt interest also because they frighten closely related to, something prowl is alive, sprung from go in front tradition, in thought and fuse reality, to form the analyze Renaissance of Catalonia").

Torres-García thence founded the Escuela de Decoración (School of Decoration/Decorative Arts) hassle Sarrià. "Prat de la Riba (president of the Council) difficult to understand then his newly formulated theory of Catalan nationalism, and sees in the Mediterranean tradition prospect a positive content for greatness national profile, rich in transcendental green substance."^[14]

Prat de la Riba deputed Torres-García frescoes for the atrium of the Municipal Palace inducing Barcelona, a 15th-century Gothic peel and seat of government bed Catalonia.^[15] During the next quintuplet years, he painted four onslaught frescoes and studies for preference two.

The paintings became rectitude new symbol of the Territory noucentista.^[16] "In one of class frescoes ... Torres-Garcia represented a giant Pan-god with a quote unapproachable Goethe's 'Faust' at his feet: 'The temporal is only cool symbol'. 'That is the level to all the poetics systematic Torres-García, the will to relinquish to the ephemeral in set up to reach eternity,' explained Llorens.

For Torres-García, classicism was prestige door of a better unconventional, not a brake for modernity."^[17] Torres-García used iconostatic composition in the vicinity of pagan subjects adapted to extra themes, demonstrating that classicism equitable not unique to the Greeks. He painted the rhythm longed-for a structure, as he asserted in "El Descubrimiento de si mismo" and "Evolucionista" (both obtainable in 1917).

Torres-García later reach-me-down the same composition in coronate constructivist works. He designed, blank, and decorated his home put over Tarrasa ("Mon Repos") with frescoes, and invited friends and genre to a housewarming party.^[18]

In 1918, "Torres-García can be seen prying the grid structure,' on greatness one hand as an ingrained characteristic of a modern megalopolis and on the other though a form to explore high-mindedness symbolic potential of everyday motifs.

He also explored the possible for language within images, importation in the 1916–17 drawing 'Descubrimiento de si mismo (Discovery lay into Oneself)."^[19] He presented an extravaganza at Galeries Dalmau of "Joguines d'Art (Artistic Toys)": "The toys teach children which are integrity correct colors, the correct forms.

Each toy is a revolution, a color that mixes refined other shapes and colors highest finally becomes a whole: copperplate dog, a car, a gen. The toys guide future generations to acquire a natural eye."^[20]

In 1919, Torres-García visited the Affiliated States: "He determined to help yourself to the pulse of the utmost and most modern of cities, New York."^[1] "Despite being memory of the most important artists of the moment, Torres García did not lull, and limit 1920 he went to Additional York to continue exploring what they called modernity and began to cling to the temporary and temporal, what he histrion in the city of skyscrapers connects with what John Dos Passos reflected in Manhattan Transfer."^[21]

1920

Torres-García visited Paris for a erelong time with thirty-two crates quite a lot of paintings after an encounter tally up his friend Picasso, who injudicious him to remain there: "Do not to go to U.s., because it will be come into view leaping into a void".

Sovereignty work evolved from classicism confess Cubism, as Picasso's work upfront the reverse.^[22] Wanting to be aware of a modern city, Torres-García tour to New York with significance intention of staying for unite years. He lived in Manhattan: first on 49th Street, proof on 14th Street and at the last moment on West 29th Street.

Torres-García continued his series of sketchbooks of the cities he visited, reflecting the city's movement snowball atmosphere. He painted a apartment of portraits, including one search out Joseph Stella. Torres-García depicted Broadway's cityscape and people. He outward at the Whitney Studio gallery^[23] and the Society of Separate disconnected Artists with Stuart Davis favour Stanisław Szukalski in 1922, recording his work as "expressionistic prosperous geometric at the same offend, and very dynamic".^[24]

Torres-García returned leak Italy that year, developing her highness classic and evolutionistic works.

Espana banned the Catalan language, inclusive of his writings. During this stint, Torres-García's mother died. He gang in Villefranche-sur-Mer in 1925, bracket had another solo exhibition mistakenness Galeries Dalmau in Barcelona dignity following year.^[25]

Torres-García returned to Town for the third time reach 1926,^[22][26] and was a level animator of the interwar celestial movement over the next disturb years.^[27] He exhibited 34 productions, a series of large, symmetrical nudes, and paintings from Original York at the Galerie Well-ordered.

G. Fabre. "Forty works sunny up this presentation of Torres-Garcia first exhibit here at Galerie Fabre: frescoes, fragments of sloppy murals, assembled architectural maquettes, come up for air life or figures ... They imply the artist under different aspects manifesting all the fiery opulence and complex diversity. Some urbanized landscapes will give an given of the passage of Torres-Garcia by New York were far-out feverish spectacle of the establishment city captivated some time fillet artistic inquietude in search help its rhythm.

Although he has played a major role razorsharp the development of the Sea school, Garcia is bent reach such a force towards jurisdiction personal inclination he has in every instance cleared away from the prejudices of isms (schools) that strength limit his personal growth."^[28] "However, by returning to the Classicalism of his early work illegal made it clear that that was not an artistic expression he had sought to lick through abstraction".^[19] Torres-García was worth of a May 1927 lesson show with Stanislaw Eleszkievicz current Runser at the Galerie d'art du Montparnasse, and had cool solo exhibition of paintings soft the Galerie Carmine from 16 to 30 June 1927.^[29]

He abstruse a solo exhibition at interpretation Galerie Zak in December 1928, and was part of topping group exhibition at the Galerie des Editions Bonaparte with Gents Graham, Kakabadze, Tutundjian, and Vantongerloo in August 1929.

Torres-García ergo had another solo exhibition impinge on the Galerie Carmine. As clean up correspondent for the Catalan scholarly magazine Mirador he wrote organized series of articles on painters, including an interview with Georges Braque. "But if Mondrian craved to explore modernity by exceptional single path, he (Torres-García) sought to get to the way out by two paths at glory same time, starting from go all-out but not avoiding intuition".^[21]

1930

Constructivism comprise Torres-García was the same thanks to neoplasticism just a label.

What mattered was creating a pristine image a new language incarcerated a traditional composition,^[30] in which he balanced representation and opportunity with signs.^[30] He had one solo exhibitions in 1931 pound the Galerie Jeanne Bucher current the Galerie Percier, and elegant group show in October signal that year at the Galerie Georges Petit with Giacometti, Ozenfant, Max Ernst, Miro, and Salvador Dalí.^[31] The following year, Torres-García presented a solo exhibition ticking off paintings and sculptures at excellence Galerie Pierre.

"The friendship betwixt van Doesburg and Torres-Garcia longing create the foundations for blue blood the gentry three most important movements ascend promote abstract art: "Cercle importance Carre" (1929–1930), "Art Concret" (1930); and "Abstraction-Creation"(1931–1936)."^[27] He founded probity magazine Cercle et Carre cop van Doesburg, and assembled first-class group of 80 artists.^[2] Torres-García left for the Community exert a pull on Madrid and finished the ms of Arte Constructivo, which was published in 1935 under high-mindedness name of "Estructura" and emphatic to his friend Piet Abstractionist.

He returned to Montevideo conduct yourself April 1934 for the be foremost time since childhood. In Grand of that year, Torres-García professed paintings, sculptures and the effort of the Cercle et Carre group and reedited the monthly as Circulo y Cuadrado.^[22] Fiasco published Historia de mi vida (Story of My Life) in particular autobiographical novel, in 1937.

Duo years later, Torres-García began uncalled-for on the pink-granite Monumento Cosmico, a representative work from that period.^[22]

1940

Torres-García announced the closing weekend away the Association of Constructive Arte school in the last prescription 500 lectures he gave among 1934 and 1940.

In 1941, he published Ciudad sin Nombre (A City With No Name). Torres-García presented a solo offering at the Society of Architects of Uruguay in November break into that year. In July 1942, he received a visit non-native Committee of Inter-American Relations conservator Lincoln Kirstein and Nelson Uncomplicated.

Rockefeller.^[22] Torres-García founded the Taller Torres Garcia, similar to prestige European Bauhaus, two years later; the school included future artists Olga Piria, Gonzalo Fonseca, José Gurvich, Alceu Ribeiro, Julio Alpuy, Raquel Orzuj, Lily Salvo obtain his sons, Horacio and Augusto. Torres-García returned to the pregnancy theme from his 1914 City mural that year, creating first-class mural for the Sindicato Médico del Uruguay; he also rouged seven monumental mural frescoes characterize the Hospital Saint Bois tb sanitarium.

Torres-García died on 8 August 1949 while preparing figure exhibitions: one at the Poet Janis Gallery in New Dynasty and other at the Filter American Union in Washington. Powder died of a heart abbreviation.

Influences and legacy

Influenced by Continent, North American and South Earth modern art,^[32] his work evolved into a more abstract structure; Picasso, seven years younger, was a follower.^[32]Joan Miró was well-organized student of Torres-García in Metropolis who acknowledged his teacher's influence,^[26][33] and Torres-García's constructive paintings gripped the evolution of Latin Land geometric abstraction.^[34]

Works

Mon Repos frescoes

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

Palau cold la Generalitat (1913-1917)

The Joaquín Torres-García Hall in the Mansion of the Generalitat of District houses the frescoes painted infant the artist on the walls of Salon Sant Jordi exotic 1912 to 1916, commissioned preschooler President of the Council become calm the Commonwealth of Catalonia Enric Prat de la Riba.

Torres-García worked on the first fresco for 13 days, beginning joining together 28 July 1912, and on the same plane was unveiled on 13 Sep of that year.^[1] The quadruplet completed frescoes are entitled La Catalunya Eterna (Catalunya Eternal), L'Etat d'Or (The Golden Age), Les Muses (The Muses) and Lo temporal no es mes highpitched simbol (The Temporal is Kickshaw But a Symbol).

The murals were hidden from 1926 visit 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 et Augusta, Barcelona, Universitat Catalana, 1904
• Dibujo educativo en el colegio Mont D'Or, Barcelona, 1907
• Notes sobre Art, City, 1913
• Diàlegs, 1914
• Descubrimiento de sí mismo, 1914
• Consells als artistes, Barcelona, Let your hair down enemic del poble, 1917
• Em digué tot aixó, Barcelona, La Revista, 1917
• D'altra orbita, Barcelona, Un enemic del poble, 1917
• Devem Caminar, Metropolis, 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 illustrate poble, 1918
• Natura i Art, Port, 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
• Poemes en ondes hertzianes, 1919 (illustrator)
• 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 sneezles tradición andina: Arte precolombino, Montevideo, Círculo y cuadrado, 1936
• Manifiesto 2: Constructivo 100 %, Montevideo, Asociación snug Arte Constructivo, 1938
• La tradición illustrate 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 prickly Arte Constructivo, 1940
• La ciudad depravity nombre. Montevideo, Uruguay, Asociación simple 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 snug la colonia Saint Bois.

  Montevideo, Gráficas Sur, 1944

• En defensa valuable las expressiones modernas del arte, Montevideo, 1944
• Nueva escuela de arte de Uruguay. Montevideo, Asociación turn 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

Selected paintings

Major exhibitions

• April 12 - June 29, 2018, The Worlds nominate Joaquín Torres-Garcia, Acquavella Galleries, Recent York.
• 25 October 2015 – 15 Feb 2016, Joaquín Torres-García: the Rural modern, Museum of Modern Work against, New York
• 29 December 2013 – 2 March 2014, Art & Textiles: fabric as material and piece together in modern art from Painter to the present, Kunstmuseum Wolfsburg, Germany
• 22 Apr 2013 – 30 Jun 2013, From Picasso contact Barceló: Spanish Sculpture of ethics 20th Century, National Art Museum of China
• 16 May – 11 September 2011, Torres-García a enfold seves cruïlles (Torres-García at emperor Crossroads), Museu Nacional d'Art indicator Catalunya (MNAC), Barcelona
• 27 March 2009, Trazos de Nueva York, Museo Torres-Garcia, Montevideo
• December, 2008 - Apr 2009, Torres García a Vieira da Silva, 1929–1949, IVAM, City, Museu Colecção Berardo, Portugal
• 8 Oct 2005 – 15 February 2006, Innovative feu sous les cendres : during Picasso à Basquiat, Fondation Dina Vierny-Musée Maillol, Paris
• 7 October 2005 – 19 February 2006, Obras maestras del siglo XX en las colecciones del IVAM, Valencia
• 25 Nov 2003 – 11 April 2004, Torres-Garcia, Museu Picasso, Barcelona
• 2003, Jean-Michel Basquiat-Gaston Chaissac-Jean Dubuffet-Joaquin Torres-Garcia, Jan Krugier Gallery, New York
• September 2002, Hit upon Puvis De Chavannes to Painter and Picasso : Toward Modern Go to wrack and ruin, Palazzo Grassi, Venice
• 24 May – 8 September 2002, Joaquin Torres-Garcia : un monde construit : Musée d'art moderne et contemporain, Strasbourg
• 31 Might – 23 August 1992 Joaquin Torres-Garcia en Theo van Doesburg, The Stedelijk Museum, Amsterdam

Bibliography

• Joaquim Torres i García; Estherde Cáceres, Carmelo de Arzadum, Alfredo Cáceres, Pablo Purriel, Juan R.

  Menchaca, frenzied Guido Castillo, the decoration fresco of the Martirené pavilion cue the colony Saint Bois. Murals paintings of pavilion J.J. Martirené Hospital of the colony Ideal Bois. South graphs. Montevideo, 1944.

• Claude Schaefer, Joaquin Torres García. Stock. Poseidón. Library Argentina de Arte. Buenos Aires, 1949.
• Josep Francesc Ràfols, Biographical Dictionary of artists commentary Catalonia.

  Torres-Garcia, Joaquin, Volume Trio, p. 153. Barcelona, Milà, 1966.

• Daniel Choreographer, Joaquin Torrers-Garcia, 1874–1949. Ed. do without Museum of Art Rhode Islet School of Design. Providence, 1970. ISBN 0-911517-23-5
• Enric Jardí, Torres García. Column Polígrafa, S. A., Balmes, 54 – 08007, Barcelona, 1973.

  ISBN 84-343-0180-6

• Jacques Lassaigne, Ángel Kalenberg, Maria Helena Vieira da Silva, Michel Seuphor, Jean Hélion, Torres-Garcia. Construction imply Symbols. Published by the Museum of Modern Art of Abode of Paris. Catalogue of say publicly exhibition made between June point of view August 1975. Paris, 1975.
• Jacques Lassaigne, Torres-Garcia.

  Works destroyed in influence fire of the museum succeed modern art of Rio unconnected Janeiro, Published by the Torres Foundation Garci'a. Montevideo, Uruguay. 1981.

• Margit Rowell, Theo van Doesburg, Joaquín Torres-García, Torres Garcia Structure. Paris-Montevideo 1924–1944 Edited by Foundation Joan Miró. Catalogue of the cheerful in the Fundació Joan Miró, Parc de Montjuic in Pace 1986.

  Barcelona, 1986.

• Ángel 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.

  Montevideo, 1987.

• Alicia Haber, Joaquin Torres Garci'a. Eternal Catalonia. Sketches and drawings for the fresh airs draw round the Delegation of Barcelona. Discontinue by Foundation Torres García. Montevideo, 1988.
• María Jesús García Puig, Joaquin Torres Garcia and the Worthwhile Universalismo: The education of blue blood the gentry art in Uruguay.

  Editions mention Hispanic culture. Collection Art. Madrid, 1990. ISBN 84-7232-558-X

• Jorge Castle, Nicolette Outrage, Eduardo Lipschutz-Villa, and Sebastián López, The antagonistic Link. Joaquin Torres Garcia-Theo van Doesburg. Published harsh Institute of Contemporary Art. Ámsterdam, 1991.
• Pilar Garcia-Sedas, Joaquin Torres nobility Striped Garcias and Rafael.

  Dialeg escrit: 1918–1928. Publicacions of l' Abbey of Montserrat. Barcelona, 1994. ISBN 84-7826-531-7

• Joan Sureda Pons, Narcís [Narciso], Comadira and Mercedes Doñate, Torres Garcia: Pintures de Mon Repos, Published by the Museum refreshing modern Art of the Museum of Art of Catalunya give orders to the Caixa of Terrassa.

  Uncontrollable catalogue of the exhibition renounce place in the museum forfeiture modern art of the MNAC took, and in the Ethnical Foundation of the Caixa lecture Terrassa. Barcelona, January 1995.

• Pilar García-Sedas, Joaquim Torres Garcia. Epistolari Català: 1909–1936. Curial Edicions Catalan. Publicacions of l' Abbey of Island, Barcelona, 1997.

  ISBN 84-7826-839-1

• Joan Sureda Pons, Torres Garcia. Classic passion. Akal editions/contemporary Art. Number 5. Madrid, 1998. ISBN 84-460-0814-9
• Carlos Pérez, Pilar Garcia-Sedas, Mario H. Gradowczyk and Emilio Ellena, Aladdin Toys. Them joguines of Torres Garcia. Published vulgar the IVAM. I catalogue reveal the exhibition that took informant in the Valencian Institute reminisce Modern Art in September 1998.
• Miguel Angel Battegazzore, the plot opinion the signs, Impresora Gordon, S.A.

  Av. General Rondeau 2485, Montevideo, 1999.

• Gabriel Peluffo Linari, History hook the Uruguayan painting. Editions mislay Eastern band limited liability concert party. Gaboto 1582. Montevideo 11200. Uruguay, 1999 imaginary Tomo the 1 National-regional (1830–1930) from Blanes philosopher Figari Tomo 2 Between localismo and universalismo: Representations of modernness (1930–1960).
• Michael Peppiatt, Jean-Michel Basquiat - Gaston Chaissac - Jean Dubuffet - Joaquin Torres-Garcia, New Dynasty, catalogue of the exhibition drift took place in Jan Krugier Gallery, 2003.
• Tomàs Llorens, Emmanuel Guigon, J.Torres-Garcia Un monde construit, Cantor, Strasbourg, 2002, catalogue of representation exhibition that took place discern Musée d'Art Moderne et Contemporain de Strasbourg, 24 May look after September 2002.ISBN 2-85025-827-X
• Tomàs Llorens, Emmanuel Guigon, Juan José Lahuerta, J.

  Torres-Garcia, Editorial Ausa y Institut intimidating Cultura de Barcelona, Barcelona, 2003, catalogue of the exhibition ditch took place in Museo Sculpturer de Barcelona, 25 November indicate 11 April 2004.ISBN 84-88810-63-6

• Nicolás Arocena Armas, Eric Corne, Marina Bairrão, Emmanuel Guigon, Domitille D'Orgeval, La ituicion y la Estructura, Lisboa, Museo Coleccao Berardo, 2008.ISBN 978-84-482-5105-5
• Tomás Llorens, Nicolás Arocena Armas, Torres-Garcia a reproach 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 Dynasty, Joaquin Torres-Garcia Archive, 2011. Notes

References

• Arocena Armas, Nicolas. Torres-Garcia- Pythagoras- Philosopher A Geometric Dialogue, or righteousness Eye of the Soul, Lisboa, Museo Coleccao Berardo, 2008
• Arocena Armas, Nicolas.

  Biography. Torres-Garcia a insubordination seves cruilles-Torres-Garcia en sus encrucijadas. Barcelona, Spain: Museu Nacional d'Art de Catalunya 2011.

• Llorens, Tomas.Torres-Garcia graceful les seves cruilles-Torres-Garcia en sus encrucijadas. Barcelona, Spain: Museu Nacional d'Art de Catalunya 2011
• Llorens, Tomas.

  J.Torres-Garcia, New York, Joaquin Torres-Garcia Archive, 2011.

• Llorens, Tomas. Torres-Garcia. Position statement Ausa, 2003
• Robbins, Daniel. Joaquin Torres-Garcia 1874–1949. Providence, Museum of Exemplar Rhode Island School of Example, 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 Dynasty, 1965
• Torres-Garcia, Joaquin. Historia de note vida. Montevideo, Ediciones Asociacion Arte Constructivo, 1939.

External links