Joaquín Torres-García, ‘Grafismo Infinito’, 1937, Gary Nader

Signature: Signed and dated 1937 center right

New York, Sidney Janis, Joaquín Torres-García, April 3-22, 1950
Jerusalem, The Israel Museum, Works of Art from the Collection of Mr. and Mrs. Markus Mizné, Summer 1966, no. 4
Lisboa, Fundação Arpad Szenes-Vieira da Silva, May 9-July 21, 1996; Pontevedra, Museo de Pontevedra, August-September 1996, J.Torres-García: Obra constructivista, no. 19, illustrated in color

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
Sidney Janis, New York
Rose Fried Gallery, New York
The Collection of Mr. and Mrs. Markus Mizné, Paris
Sale: Christie’s, New York, 19th and 20th Century Latin American Paintings, Drawings and Sculpture, December 1, 1981, lot 123, illustrated in color

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