Joaquín Torres García/Translation
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This article is the current Spanish Translation of the Week. Please help in translating this page if you can. The original article was at es:Joaquín Torres García
- Also see current English article for reference: Joaquín Torres García
| Joaquín Torres García | |
| Born | July 28, 1874 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 plastic artist and art theorist, also known as the founder of Constructive Universalism.
Contents |
[edit] Biography
[edit] 1874-1891. Early days
Joaquin Torras-García nee Joaquim Torras Garcia in Montevideoof Spanish parents, Joaquim Torras Fradera from Mataro Spain and María García Pérez from the Canaries.
In 1891, Torras García's father returns to his homeland Spain. At the age of 17, Joaquim returned with his family to Europe. His father's family lived in Mataró, Spain. There, Joaquin began attending a local arts academy. In 1892 the family moved to Barcelona and Joaquin enrolled in the School of Fine Arts (Escuela de Bellas Artes)His friends were the painters Joaquim Mir, Joaquim Sunyer, Ricard Canals and Nonell, Pablo Picasso, Julio Gonzalez Josep Pijoan, Eduardo Marquina, Pere Moles and Luis de Zulueta.. At the time the youngs artists were influenced by French Impressionism, an art expression that was preponderant at that time along with the works of Émile Zola. The group used to paint in the suburbs of the city or meet in Julio González's studio, attend artistic get-togethers at the Sant Lluc Circle, classical music concerts at the Liceu, and debates and conversations at Els Quatre Gats, the Soler tailor-shop, and other locations. He enrolled in the Academia Baixas, an institution that even was better considered for its academics than the official Fine Arts School and the Artistic Circle of Sant Lluc, whose Catholic influence made a strong impression in him. At the beginning of 1894 he participated in the General Exposition of Fine Arts, Foreign section. In the following year he began to collaborate in the Catholic Typographic Bookstore until 1899. In 1897, he presented his works in the exhibition hall of La Vanguardia Newspaper and participated in a collective exhibition in the Artist Circle of Sant Lluc. He published his drawings in La Vanguardia and in magazines like Iris, Barcelona Cómica and La Saeta. He signed his drawings then with his legal name Quim Torras.
Since 1901 Torres García started to paint frescos, attracted by the timelessness of the older works created with this technique. In May 1903 he published an article in the monthly magazine Universitat Catalana entitled Augusta et Augusta, concluding that the art should never copy the reality and defending his idealist conception of art. He began to do murals , first with Adrià Gual and later in the Catalan architect Antoni Gaudí's remodeling of the La Seu. Gaudi hired him later with Llongueiras and Iu Pascualfor the interior restauracion of the cathedral in Palma de Mallorca. He worked on the first two lateral stained glass windows and the rose window of the Capilla Real. This collaboration lasted until 1905, exposing Torres to Gaudí's collaborative and interdisciplinary vision of work, as well as the necessity to consider painting and architecture as a union.
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 the commissions for murals in the chapel of the Santísimo Sacramento of the church of San Agustín in Barcelona (destroyed during the Spanish Civil War); and the apse of the Iglesia de la Divina Pastora in Sarrià.
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 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 Terrassa, to which he had moved the Escuela Mont d’Or.
In May 1913 he published his first book, Notes sobre Art ("Notes on Art"). On June 19, 1913 his second child, Augusto was born. 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. Torres García designed and decorated his residence, Mon Repòs in Terrassa. On 10 December 1915 at Mon Repòs, his third child, a daughter named Ifigenia. He did numerous murals and large oil paintings for the home of Emilio Badiella in Terrassa. He published "Descubrimiento de si mismo" and the manifiestos "Evolucionismo" working in close relanshionship with surrealist and the Dada movement in Spain.
After the death of Prat de la Riba, the work of decorating the Salón de Sant Jordi was immediately suspended.
[edit] 1919-1932. New York and Paris
In 1920, Torres García left with his family for Paris. Miro was wainting for him at the train station. From there he embarked for New York City.Founds the Aladdin Toy Company, which received important orders from the Dutch company Metz & Co. Returns to Europe. In 1924, Horacio, was born in Livorno, Italy. Organizes an exposition in Paris with the classic frescoe style reviseted and receives positive reviews. At last Manolita's dreams of moving to Paris are realized in 1926. In 1928, he and Jean Hélion, 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.Toguether they make plans to found an abstract group who would include Arp, Van Rees Georges VantogerlooMondrian. Later founded without Theo Van Doesburg as Cercle et Carré, promoter of the first exhibition of constructivist and abstract art in 1930, and of a magazine also called Cercle et Carré.
In 1932 he left Paris 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").
In 1934, he travels to Uruguay, to his native Montevideo, where he was received as a member of the European artistic elite. He immediately founds a group to continue to teach his artistic theories Sociedad de las Artes del Uruguay. 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.
In 1934 Torres García was named honorary professor of the Faculty of Architecture of Montevideo and in 1935 he published a book Estructura. Asociación de Arte Constructivo (AAC), impregnated with the spirit of a strictly indigenous pre-columbian art imported from Peru. 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 motto was "Total intransigence against naturalism." Torres maintained an intense teaching activity from 1934 to 1938.
In 1940 the AAC published the book 500ª conferencia ("500th Conference"), which gathered together all of the talks Torres García had given in Montevideo since his return, and announced the end of the series.
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 1945 he published the first issue of the magazine Removedor, 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 his sons, until it finally closed in 1962 . 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.
[edit] Works
[edit] Writings
* Augusta ET Augusta (Augusta and Augusta), 1904, Barcelona, Catalan Universitat.
- educative Drawing in the school Mont D' Or (Educational drawing AT Mont D'Or school), 1907, Barcelona.
- Notes on Art (You notice about art), 1913, Barcelona.
- Diàlegs (You engage in a dialog), 1914.
- Discovery of itself (Self discovery), 1914.
- Consells als artistes (Advices to artists), 1917, Barcelona, enemic of the poble.
- command post digué tot aixó , Barcelona, the Magazine, 1917
* D' altra orbits , Barcelona, enemic of the poble, 1917 * Devem Caminar , Barcelona, enemic of the poble, 1917 * Art-Evolució , Barcelona, enemic of the poble, 1917 * Públic i you novate tendéncies to them d' art , Barcelona, Velli nou, 1918 * Plasticisme , Barcelona, a Enemic of the poble, 1918 * Natura i Art , Barcelona, a Enemic of the poble, 1918 * L' Art in relació to home etern i l' home that passa , Sitges, the Press the echo of Sitges. 1919 * the Regeneració of if mateix , Barcelona, Salvat Publishing Papasseit, 1919 * Foi , Paris, 1930 * EC that je sais, even ET EC that je fais moi-même , Losones, Switzerland, 1930 * soleil Pére , Paris, Torres Foundation Garci'a, 1931 * Raison ET nature , Editions Magnet, Paris, 1932 * Structure , Montevideo, 1935 * Of the Andean tradition: Pre-Columbian art , Montevideo, Circle and Manifest square, 1936 * 2: Constructive 100% , Montevideo, Association of Constructive Art, 1938 * the tradition of the abstract man (constructivista Doctrine) . Montevideo, 1938 * History of my life . Metaphysical Montevideo, 1939 * of indoamericana prehistory , Montevideo, Association of Constructive Art, 1939 * Manifest 3 , Montevideo, Association of Constructive Art, 1940 * the city without name . Montevideo, Uruguay, Association of Constructive Art, 1942 *JOAN SUREDA PONS, NARCISO COMADIRA AND MERCEDES DOÑATE, Towers Garci'a: Pintures de Mon Repos, Published by the Museum of modern Art of the Museum of Art of Catalunya and the Caixa of Terrassa. I catalogues of the exhibition that pleases in the museum of modern art of the MNAC took, and in the Cultural Foundation of the Caixa of Terrassa. Barcelona, January of 1995.
- PILAR GARCÍA-SEDAS, Joaquim Torres Garci'a. Epistolari Català: 1909-1936. Curial Catalan Edicions. Publicacions of l' Abbey of Montserrat, Barcelona, 1997. ISBN 84-7826-839-1
*JOAN SUREDA PONS, Towers Garci'a. Classic passion. Akal editions/contemporary Art. Number 5. Madrid, 1998. ISBN 84-460-0814-9 *CARLOS PEREZ, PILLAR GARCÍA-SEDAS, CECILIA BUZIO OF TOWERS, MARIO H. GRADOWCZYK AND EMILIO ELLENA, Aladdin Toys. Them joguines of Towers Garci'a. Published by the IVAM. I catalogue of the exhibition that took place in the Valencian Institute of Modern Art in September of 1998.
- MIGUEL ANGEL BATTEGAZZORE, the plot and the signs, Impresora Gordon, S.A. Av. General Rondeau 2485, Montevideo, 1999.
- GABRIEL PELUFFO LINARI, History of the Uruguayan painting. Editions of Eastern band limited liability 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).
- PILAR GARCÍA-SEDAS, Joaquin the Striped Tower-Garci'as and Rafael. A written dialogue: 1918-1928. Editions Parsifal and Libertad books. Parsifal Editions, March 2001, Vallseca, 39 - 08024 Barcelona, Freedom books, Freedom, 2433 - 08024 Montevideo. ISBN 84-95554-04-6*JOAN SUREDA PONS, NARCISO COMADIRA AND MERCEDES DOÑATE, Towers Garci'a: Pintures de Mon Repos, Published by the Museum of modern Art of the Museum of Art of Catalunya and the Caixa of Terrassa. I catalogues of the exhibition that pleases in the museum of modern art of the MNAC took, and in the Cultural Foundation of the Caixa of Terrassa. Barcelona, January of 1995.
- PILAR GARCÍA-SEDAS, Joaquim Torres Garci'a. Epistolari Català: 1909-1936. Curial Catalan Edicions. Publicacions of l' Abbey of Montserrat, Barcelona, 1997. ISBN 84-7826-839-1
*JOAN SUREDA PONS, Towers Garci'a. Classic passion. Akal editions/contemporary Art. Number 5. Madrid, 1998. ISBN 84-460-0814-9 *CARLOS PEREZ, PILLAR GARCÍA-SEDAS, CECILIA BUZIO OF TOWERS, MARIO H. GRADOWCZYK AND EMILIO ELLENA, Aladdin Toys. Them joguines of Towers Garci'a. Published by the IVAM. I catalogues of the exhibition that took pleases in the Valencian Institute of Modern Art in September of 1998.
- MIGUEL ANGEL BATTEGAZZORE, the plot and the signs, Impresora Gordon, S.A. Av. General Rondeau 2485, Montevideo, 1999.
- GABRIEL PELUFFO LINARI, History of the Uruguayan painting. Editions of Eastern band limited liability company. Gaboto 1582. Montevideo 11200. Uruguay, 1999 imaginary National-regional Tomo the 1 (1830-1930) from Blanes to Figari Tomo 2 Between localismo and universalismo: Representations of modernity (1930-1960).
- PILAR GARCÍA-SEDAS, Joaquin the Striped Tower-Garci'as and Rafael. To they written engages in a dialog: 1918-1928. Editions Parsifal and Freedom books. Parsifal Editions, March 2001, Vallseca, 39 - 08024 Barcelona, Freedom books, Freedom, 2433 - 08024 Montevideo. ISBN 84-95554-04-6
[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 of the Chapel of the Santísimo Sacramento and Montserrat of the Church of San Agustín, Barcelona, 1904
*Decoración mural of the apse of the church of the Divine Shepherd, Sarriá, Barcelona, 1906 *Decoración mural of the office of Property of the City council of Barcelona. Barcelona, 1908
- Decoración mural of the pavilion of Uruguay in the universal exhibition with the allegories Cattle ranch and Agriculture, Brussels, 1910
- Palas introducing to the Philosophy in the Helikon like Xª Musa, Barcelona, 1911
*La eternal Catalonia, decoration mural of the hall San Jorge, Palace of the Generalitat, Barcelona, 1915*The golden age of the humanity, decoration mural of the hall San Jorge, Palace of the Majority, Barcelona, 1915 *Las musas or the arts, decoration mural of the hall San Jorge, Palace of the Majority, Barcelona, 1916
- Lo temporary is not more than symbol, decoration mural of the hall San Jorge, Palace of the Majority, Barcelona, 1916
- Decoración mural of Mon Repós, Terrassa, Barcelona, 1915
*Decoración mural of the Badiella address, Terrassa, Barcelona, 1916 *Maternidad, Clinic of Doctor Rodriguez Lopez, Montevideo, 1944 *Forma, constructive Decoration mural, Martirené pavilion of the Hospital of Saint Bois, Montevideo, 1944 *El fish, Decoration constructive mural, Martirené pavilion of the Hospital of Saint Bois, Montevideo, 1944 *Pax in lucem, constructive Decoration mural, Martirené pavilion of the Hospital of Saint Bois, Montevideo, 1944 *El street car, Decoration constructive mural, Martirené pavilion of the Hospital of Saint Bois, Montevideo, 1944 *El sun, constructive Decoration mural, Martirené pavilion of the Hospital of Saint Bois, Montevideo, 1944 White *Locomotora, Decoration constructive mural, Martirené pavilion of the Hospital of Saint Bois, Montevideo, 1944 *Pachamama, constructive Decoration mural, Martirené pavilion of the Hospital of Saint Bois, Montevideo, 1944
[edit] Bibliography
.*JOAQUÍN TOWERS GARCI'A; ESTHER OF CÁCERES; CAR IT TO ME OF ARZADUM; ALFREDO CÁCERES; PABLO PURRIEL; JUAN R. MENCHACA AND GUIDO CASTILLO, the decoration mural of the Martirené pavilion of the colony Saint Bois. Murals paintings of pavilion J.J. Martirené Hospital of the colony Saint Bois. South graphs. Montevideo, 1944.
- JOAQUÍN TOWERS GARCI'A, the city without name. Ed. by the Association of Constructive Art. Montevideo, 1941.
- CLAUDE SCHAEFER, Joaquin Torres Garci'a. Ed. Poseidón. Library Argentina de Arte. Buenos Aires, 1945.
- JOAQUÍN TOWERS GARCI'A, the abstract rule. Edition facsimile, Buenos Aires, 1967. Published originally by the Association of Constructive Art like part of the New School of Art of Uruguay. Montevideo, Uruguay, 1946
- JOAQUÍN TOWERS GARCI'A, New school of art of Uruguay. Publications of the association of constructive art. Montevideo, 1946.
- JOAQUÍN TOWERS GARCI'A, pretends and concrete it in the art. Publishing center of Latin America, Fundamental Uruguayan Library, Chapter 41. Seat of Independence, 1374, Montevideo. Uruguay. Avda. of Mayo 1365, Buenos Aires. Argentina. 1948.
- JORGE River plate ROMERO BREST, Painters and engravers. Ed. by Argus. Cordova, Buenos Aires, 1951.
- JOAQUÍN TOWERS GARCI'A, the recovery of the object (Lessons on plastic). Published by the Artigas Library. Collection of Classic Uruguayan. Volume I and II, corresponding to the numbers of collection 75 and 76. Montevideo, 1965.
- J. F. RÀFOLS, biographical Dictionary of artists of Catalonia. Tower-Garci'a, Joaquin, Volume III, p. 153. Barcelona, Milà, 1966.
- JOAQUÍN TOWERS GARCI'A, the tradition of the abstract man (constructivista Doctrine). Published by the commission of Tributes to Towers Garci'a (Ministry of Education and Culture of the Eastern Republic of Uruguay) Edition to facsimilar of the original one of 1938. Montevideo, 1969.
- DANIEL ROBBINS, Joaquin Tower-Garci'a, 1874-1949. Ed. by 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 TOWERS GARCI'A, Raison ET nature. Published by the commission of tributes to Towers Garci'a of the Ministry of Education and Culture of Uruguay. Montevideo, 1974. First Edition Editions Magnet. Paris, 1932.
- Joaquín Towers Garci'a. Bibliography. Centenary of its birth. 1874-28 of July-1974. It publishes commission of Tributes to Towers Garci'a (Ministry of Education and Culture of the Eastern Republic of Uruguay) Montevideo, 1974.
- JACQUES LASSAIGNE, ANGEL KALENBERG, MARIA ELENA VIEIRA GIVES WHISTLES, MICHEL SEUPHOR, JEAN HÉLION, MOUNTAIN PABLO, Tower-Garci'a. Construction ET symbols. Published by the Museum of Modern Art of Villa of Paris. Catalogue of the exhibition made between June and August of 1975. Paris, 1975.
- JOAQUÍN TOWERS GARCI'A, Escrits on art. 62 editions and the Caixa. Barcelona 1980.
- JACQUES LASSAIGNE, Tower-Garci'a. Works destroyed in the fire of the museum of modern art of Rio de Janeiro, Published by the Torres Foundation Garci'a. Montevideo, Uruguay. 1981.
- JOAQUÍN TOWERS GARCI'A, constructive Universalismo. Ed. Alliance Forms. Numbers 42 and 43. Madrid 1984.
- GUIDO CASTLE, Augusto Torres, Edited by Scala Books with the Archer M. Huntington Art Gallery of the University of Texas AT Austin. Written up by Elizabeth K. Fonseca, Italy, 1986.
- MARGIT ROWELL, THEO VAN DOESBURG, JOAQUIN TORRES GARCI'A AND CECILIA BUZIO OF TOWERS, Towers Garci'a: Structure. Paris-Montevideo 1924-1944 Edited by Foundation Joan Watched. Catalogue of the exhibition in the Fundació Joan Watched, Parc de Montjuic in March of 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 TO HAVE AND CECILIA TORRES, Joaquin Torres Garci'a. Eternal Catalonia. Sketches and drawings for the fresh airs of the Delegation of Barcelona. Edited by Foundation Torres Garci'a. Montevideo. Uruguay, 1988.
- MARÍA JESUS GARCI'A PUIG, Joaquin Torres Garci'a and the Constructive Universalismo: The education of the art in Uruguay. Editions of Hispanic culture. Collection Art. Madrid, 1990. ISBN 84-7232-558-X
*JOAQUIN TOWERS GARCI'A, Joaquin Tower-Garci'a. History of my life. Ed. Paidós Ibérica, S.A. Paidós collection testimonies, Mariano Cubí, 92 - 08021 Barcelona, 1990.
- CECILIA TOWERS AND MARI CARMEN RAMIREZ, the school of the south, Published by the IVAM and the National Museum Center of Art Queen Sofía. I catalogue of the exhibition that place in the National Museum took Center of Art Queen Sofía in Madrid, between June and August of 1991, and in the IVAM of September to November of 1991.
- JORGE CASTLE, NICOLETTE GAST, EDUARDO LIPSCHUTZ-VILLA, AND SEBASTIÁN LOPEZ, The antagonistic Link. Joaquin Torres Garci'a-Theo Van Doesburg. Published by Institute of Contemporary Art. Ámsterdam, 1991.
- MARI CARMEN RAMIREZ, CECILIA BUZIO OF TOWERS, JUAN FLÓ, ANA RANK, JOAQUIN TORRES GARCI'A, JACQUELINE BARNITZ AND FLORENCE BAZZANO NELSON, the Torres Factory Garci'a. The School Of The South And Its Legacy, Catalogue of the exhibition made in The Archer M. Huntington Art Gallery de Austin in 1992 Edita The Archer M. Huntington Art Gallery, College of Fine Arts, The University of Texas AT Austin. Austin, 1992.
- NELSON AGUILAR, JORGE CASTILLO AND EDEMAR CID FERREIRA, Joaquin Torres Garci'a. Catalogue of the monographic Exhibition of Towers Garci'a in XXII the Biennial the International of São Paulo, who took place between October and December of 1994 in this city. Published by the Biennial the International of São Paulo, São Paulo, 1994.
- PEDRO GIVES CROSS, Towers Garci'a and Cercle ET Carré. The creation of constructive universalism. Paris 1927-1932. Ed. by Hansson & Kotte Trickery AB. Ystad, 1994.
- PILAR GARCÍA-SEDAS, Joaquin Torres the Striped Garci'as and Rafael. Dialeg escrit: 1918-1928. Publicacions of l' Abbey of Montserrat. Barcelona, 1994. ISBN 84-7826-531-7
- JOAN SUREDA PONS, NARCISO COMADIRA AND MERCEDES DOÑATE, Towers Garci'a: Pintures de Mon Repos, Published by the Museum of modern Art of the Museum of Art of Catalunya and the Caixa of Terrassa. I catalogue of the exhibition that place in the museum of modern art of the MNAC took, and in the Cultural Foundation of the Caixa of Terrassa. Barcelona, January of 1995.
- PILAR GARCÍA-SEDAS, Joaquim Torres Garci'a. Epistolari Català: 1909-1936. Curial Edicions Catalan. Publicacions of l' Abbey of Montserrat, Barcelona, 1997. ISBN 84-7826-839-1
*JOAN SUREDA PONS, Towers Garci'a. Classic passion. Akal editions/contemporary Art. Number 5. Madrid, 1998. ISBN 84-460-0814-9 *CARLOS PEREZ, PILLAR GARCÍA-SEDAS, CECILIA BUZIO OF TOWERS, MARIO H. GRADOWCZYK AND EMILIO ELLENA, Aladdin Toys. Them joguines of Towers Garci'a. Published by the IVAM. I catalogue of the exhibition that took place in the Valencian Institute of Modern Art in September of 1998.
- MIGUEL ANGEL BATTEGAZZORE, the plot and the signs, Impresora Gordon, S.A. Av. General Rondeau 2485, Montevideo, 1999.
- GABRIEL PELUFFO LINARI, History of the Uruguayan painting. Editions of Eastern band limited liability 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).
- PILAR GARCÍA-SEDAS, Joaquin the Striped Tower-Garci'as and Rafael. A written dialogue: 1918-1928. Editions Parsifal and Libertad books. Parsifal Editions, March 2001, Vallseca, 39 - 08024 Barcelona, Freedom books, Freedom, 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
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