Joaquín Torres-García, ‘Constructivo en Cinco Colores’, 1943, Gary Nader

Signature: Signed lower center and dated 43 lower right

Amsterdam, Stedelijk Museum, December 1960-January 1961; Baden-Baden, Staatliche Kunsthalle Baden-Baden, March-April 1962, Joaquín Torres-García, no. 26
New York, Rose Fried Gallery, Joaquín Torres-García 1874-1949, 15th Memorial Exhibition, January 6-February 13, 1964, illustrated

Artnews, April 1950, p. 45, illustrated
Prisma, Revista Estudios de crítica de arte, no. 11-12, November-December 1957, illustrated
María Luisa Torrens, “Significación del Taller Torres-García”, El País, 1959, illustrated

Estate of the artist
Rose Fried Gallery, New York (February 1961)
Galerie Melki, Paris
Sale: Sotheby Parke-Bernet, Inc., New York, Modern and Contemporary Paintings, Drawings and Sculpture, June 13, 1978, lot 50, illustrated

About Joaquín Torres-García

Joaquin Torres-Garcia came to be known for his affiliation to various modernist art movements that variously sought to combine European precedents of abstraction with South American imagery and life. At various times, he was associated with Noucentisme and Theo van Doesburg’s Neoplasticism. With fellow Uruguayan artist Rafael Pérez Barradas, Torres-Garcia developed Vibrationism, a style concerned with combined formal elements of Cubism and Futurism with urban imagery. Works made in this style had compositions based upon loose grids, then filled with linear symbols; these would become some of his best known and most influential pieces. He also developed Universalismo Constructivo (Constructive Universalism), which sought to identify a universal structural unity through abstraction. Torres-Garcia eventually founded Taller Torres-Garcia, an avant-garde school that sought to blur hierarchical distinctions between arts and crafts.

Uruguayan, 1874-1949, Montevideo, Uruguay, based in Montevideo, Uruguay