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Joaquin Torres-Garcia

Uruguay (Montevideo 1874 -  Montevideo 1949 )
TORRES-GARCIA Joaquin Constructif Avec Poisson

Christie's /Nov 20, 2015
559,388.40 - 745,851.20
Not Sold

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Variants on Artist's name :

Torres-Garcí­a Joaquí­n

Torres-Garcia Joaquín

 

Artworks in Arcadja
395

Some works of Joaquin Torres-Garcia

Extracted between 395 works in the catalog of Arcadja
Joaquin Torres-Garcia - Cabezas De Hombre Y Mujer A Siete Tonos

Joaquin Torres-Garcia - Cabezas De Hombre Y Mujer A Siete Tonos

Original 1947
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Lot number: 190
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Description:
Joaquín Torres-García (1874-1949) Cabezas de hombre y mujer a siete tonos (also known as Iniciación del drama-cabezas de hombre mujer a siete tonos) signed 'JTG' (upper left) and dated '47' (upper right) oil on cardboard 12 1/2 x 16 1/2 in. (31.8 x 41.9 cm.) Painted in 1947. Provenance Estate of the artist.
Joaquin Torres-Garcia - Forma En Blanco Y Negro

Joaquin Torres-Garcia - Forma En Blanco Y Negro

Original
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Lot number: 19
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Joaquín Torres-García (1874-1949) FORMA EN BLANCO Y NEGRO inscribed with signature and dated  32   oil on wood with nails 17 1/2 by 9 1/2 by 3 in. 44 by 23 by 7.6 cm Authentication This work is included in the Joaquín Torres-García Online Catalogue Raisonné (www.torresgarcia.com) as number no. 1932.83 (estate: 956). Provenance Estate of the artist
Joaquin Torres-Garcia - Graphisme En Noir Et Rouge

Joaquin Torres-Garcia - Graphisme En Noir Et Rouge

Original 1931
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Lot number: 47
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Description:
Joaquín Torres-García (1874-1949) GRAPHISME EN NOIR ET ROUGE signed lower right and dated 31 lower left oil on canvas 29 1/2 by 22 in. 75 by 56 cm Authentication This work is included in the Joaquín Torres García Online Catalogue Raisonné (www.torresgarcia.com) as number no. 1931.26. Provenance Estate of the artist Horacio Torres Collection Estate of Horacio Torres Private Collection, New York Galerie Jan Krugier, New York Private Collection, Spain Exhibited New York, Salander-O'Reilly Galleries, Inc., Joaquín Torres-García - Paintings, Constructions and Drawings, September 9-October 3, 1981, no. 12, illustrated on the cover London, Gimpel Fils, Joaquín Torres-García: Paintings & Constructions, June 19-July 14, 1984, no. 6 New York, Jan Krugier Gallery, Torres-García, November 1987 Punta del Este, Galería Sur, Joaquín Torres-García Construcciones en Madera y Óleos, Summer, 1993, no. 12, p. 27, illustrated São Paulo, XXII Bienal Internacional de São Paulo, Joaquín Torres-García, October 12-December 10, 1994, no. 16, p. 49, illustrated Zaragoza, Centro de Exposiciones y Consejos, April 10-June 22, 1997; Huesca, Sala de Exposiciones de la Diputación de Huesca, Joaquín Torres-García: Pintura y Teórico, July 11-August 24, 1997, no. 14, p. 66, illustrated Logroño, Sala Amos Salvador, Cultural Rioja, August 28–September 28, 1997; Pamplona, Museo de Navarra, Joaquín Torres-García: Artista y Teórico, October 16-November 23, 1997, no. 21, p. 91 Literature Roberto Benítez, "Torres-García e o Estilo do Exílio," Arte Hoja, May 1978, p. 39, illustrated Miguel A. Battegazzore, Torres-García: La trama y los signos, Montevideo, Gordon, 1999, no. 1, p. 12, illustrated Catalogue Note In the seminal 1948 essay “The Crisis of the Easel Picture,” notable American art critic Clement Greenberg wrote about a new pictorial “polyphony,” an “all over” uniformity in the canvas surface. He considered it an important new phase in the history of painting that answered to something deeply seated in contemporary sensibility. Among the artists who created this new development he credited Joaquín Torres-García, Jean Dubuffet, Mark Tobey, and Jackson Pollock. [1] In Graphisme en Noir et Rouge (1931), a superb example of Torres-García's definitive style, the "all over" effect Greenberg described is achieved by crossing black and earth red lines. These lines not only construct the scaffolding on which symbols are inscribed, but also subdivide each into smaller sections so that they are integral to the grid. The result is a vibrantly textured surface of lines and light brushstoke touches. But there is still another layer of significance beyond the "all over" painterly surface: because Torres-García was dissatisfied with the pure abstractions of his contemporaries of the De Stijl group, he wanted to include the complex and rich aspects of human experience, from the spiritual to the everyday. To achieve this he created a schematic, symbolic language system of basic images that function as containers of meaning. In Graphisme en Noir et Rouge, he drew a simple house, a clock, a bell, a man, a ship, a mask, a fish, the number 5, and the letters MP (his wife, Manolita Piña's, initials). "Symbols" he wrote, "give perceptible form to the imperceptible, they access our mind directly without any explanation, they are the nexus between reason and nature." By uniting figuration and abstraction in his paintings in such an unusual way, the artist achieved a synthesis that melds order and intellect, the natural world, emotion and intuition, thereby creating a new phase in XXth century art that transcended Cubism, Surrealism and Neoplasticism. [1] Clement Greenberg: The Collected Essays and Criticism, ed. John O’’Brian, vol. 2, Arrogant Purpose, 1945–1949, (Chicago: University of Chicago Press, 1986), 223.
Joaquin Torres-Garcia - Constructif Avec Poisson

Joaquin Torres-Garcia - Constructif Avec Poisson

Original 1929
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Lot number: 24
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Description:
Lot Description Joaquín Torres-García (1874-1949) Constructif avec poisson (also known as Constructif avec poisson ocre) signed 'J. Torres-Garcia' (upper left) and dated '29' (upper right) oil on canvas 23 7/8 x 28 7/8 in. (60.6 x 73.3 cm.) Painted in Paris 1929. Provenance Estate of Joaquín Torres-García, Montevideo. Alejandra, Aurelio and Claudio Torres collection. Private collection. Literature Exhibition catalogue, Torres-García: Grid-Pattern-Sign: Paris-Montevideo 1924-1944, London, Hayward Gallery, 1985, p. 31, no. 22 (illustrated). Exhibition catalogue, Torres-García, Barcelona, Museo Picasso de Barcelona, 2003, p. 245, no. 228 (illustrated in color). C. de Torres and S. V. Temkin, "Constructif avec poisson, 1929 (1929.54)" in Joaquín Torres-García Catalogue Raisonné, http://torresgarcia.com/catalogue/entry.php?id=938 (accessed 18 September 2015). Exhibited London, Hayward Gallery, Torres-García: Grid-Pattern-Sign: Paris-Montevideo 1924-1944, 14 November 1985-23 February 1986, no. 22. This exhibition also travelled to Barcelona, Fundació Joan Miró, 13 March-4 May 1986, Dusseldorf, Stadtische Kunsthalle, 28 June-17 August 1986, Miami, Center for the Fine Arts, 14 September-9 November 1986, Houston, Museum of Fine Arts Houston, 14 February-5 April 1987. Geneva, Galerie Jan Krugier, Torres-García, Retrospective, April 1998. Barcelona, Museo Picasso de Barcelona, Torres-García, 25 November 2003-11 April 2004, no. 228. Post-Lot Text This work is accompanied by a certificate of authenticity from the Joaquín Torres-García Archive of Alejandra, Aurelio and Claudio Torres, signed by Alejandra Torres and dated 1 August 2015. View Lot Notes >
Joaquin Torres-Garcia - Universal Man

Joaquin Torres-Garcia - Universal Man

Original 1943
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Net Price
Lot number: 36
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Description:
Joaquin Torres Garcia Uruguayan, 1874-1949 Universal Man , 1943 Initialed J.T.G. (ll), dated 43 (lr), stamped 159 on the reverse Bronze, edition of 330 8 3/8 x 3 3/8 x 1/4 inches The patina is natural with a golden sheen at upper left edge, at top edge and along sides. Minor green oxidation in crevices.
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