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"Torres-García was certainly always fascinated by what is chaotic, in terms of form, and what is germinal, in terms of sign or cypher […] His is an abstraction that is not concrete yet is rooted in reality–an abstraction that is an instrument of representation, providing an account of reality, yet does not depend on its mundane circumstances: its moment, its fashion, its moralities, its passions."
—Luis Pérez-Oramas on Joaquín Torres-GarcíaiPainted in 1937, Tres figuras en estructura uniquely showcases Torres-García’s signature Universalismo Constructivo (Universal Constructivism)–the movement he fathered in South America. After more than forty years traveling between Barcelona, Madrid, New York, and Paris, this work was created upon the artist’s return to Montevideo, Uruguay in 1934, one of the most important periods in Torres-García’s career. In 1935, he founded the Asociación de Arte Constructivo (AAC), and in 1943, he spearheaded the Taller Torres-García (TTG, or School of the South). Through these organizations, Torres-García began his mission to distinguish Universal Constructivism from the European Constructivist Abstraction—a movement influenced by artists like Piet Mondrian and Theo van Doesburg—advocating for an independent style of constructivism in Latin America. Belonging to this final Montevidean period, the present work beautifully embodies Torres-García’s distinct language and style, combining the tenets of geometry with the spirituality of man and nature.
Universalismo Constructivo
By 1937, Joaquín Torres-García had experienced three fruitful years back in his native Uruguay, after decades spent among the avant-garde circles of Europe and New York, but most importantly, Paris. Torres-García first encountered geometric abstraction when he moved to Paris in 1926, and by 1929, he was a founding member alongside Belgian artist Michel Seuphor of the artist group Cercle et Carré (Circle and Square), accompanied by an esteemed publication under this same name. Dedicated to a rational approach to geometric abstraction, the group eventually became broad enough to include artists like Piet Mondrian, Wassily Kandinsky and Jean Arp. In Torres- García’s words, their mission was to find “the search for equilibrium, for unity, equivalent relationships between forms, planes, colors, between the simple elements that compose the work of art.” The influence of artists like Mondrian and van Doesburg became apparent in Torres- García’s work, evident primarily in his gridded compositions, which represent a reduction of form to its most essential lines. But their influence also served as inspiration for the Uruguayan artist to find his own artistic language. Their purely rational approach conflicted with Torres-García’s belief in a balance between the rational and the emotional in artmaking. From 1931 onwards, Torres-García mastered this equilibrium as it matured into his "definitive language” as an artist,ii Universal Constructivism—modern grids filled with pictographic universal symbols, of which Tres figuras en estructura is a prime example.
[left] Piet Mondrian, Composition in Brown and Grey, 1913, The Museum of Modern Art, New York, Image: © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY
[right] Theo van Doesburg, Composition in Gray (Rag-Time), 1919, Peggy Guggenheim Museum, VeniceBreaking Down the Symbols
In the works created after his return to Montevideo in 1934, Torres-García was actively concerned with bringing human emotion to the constructivist abstraction he encountered in Paris. He believed this sensitivity had gotten lost after the Enlightenment took hold in Europe in the late 17th century. To embrace a more emotional sensibility, Torres-García turned to two main sources of inspiration—Western Medieval Art and Pre-Columbian Art. He began to incorporate motifs and symbols derived from the art and architecture of Pre-Columbian civilizations, particularly from the Andes, but also from Mexico and North America. In Tres figuras en estructura, the pictograms and symbols, some of which are recurrent in his oeuvre, are rendered in black. Most of the symbols used by Torres-García refer to humanistic notions. Here, he references the cosmos (represented by the sun, a powerful pre-Columbian symbol), nature (represented by the fish), humanity (represented by the man and woman), infinity (represented by the spiral), and the unity of the individual and the cosmos (represented by the number “1”). The compositions created during this Montevidean period are housed within a geometric structure that echoes Incan stonework. They are also characterized by their restricted color palette to mostly earth tones–evidenced here in the present work with different shades of brown, ochre, and maroon.
Torres-García and his students, c. 1946. Image: Courtesy of the estate of Joaquín Torres-García "Our North is the South"
—Joaquín Torres-GarcíaDuring the last decade of his life in Montevideo, Torres-García dedicated himself to teaching and promoting the Latin American aesthetic of constructivism. Upon his return to Montevideo, he said: “I come to achieve something concrete, something that ought to come about…something that is already fermenting.” Torres-García actually references the Asociación de Arte Constructivo (AAC), in the present work—“AAC” is inscribed in the lower right corner. This artistic decision cements his dedication to the ideology, which he codified with his first theoretical text, Estructura in 1935. Less than ten years later, El Taller de Torres-García (or the School of the South) furthered Torres-García’s mission to define Latin American art on its own terms, rather than on those from the United States and Europe. Through these efforts, Torres-García became the single most important figure in establishing Constructivism as a key movement in South America. For almost a century, his work has encouraged the next generations of artists to continue his teachings, making him one of the most influential Latin American artists of the 20th century.
i Luis Pérez-Oramas, “The Anonymous Rule: Joaquín Torres-García, The Schematic Impulse, and Arcadian Modernity” in Joaquín Torres-García: The Arcadian Modern, The Museum of Modern Art, New York, 2015, p. 37.
ii Ibid, p. 11.Provenance
Estate of the artist
Augusto Torres, Montevideo (acquired directly from the above)
Rose Fried Gallery, New York
Acquired from the above by the present ownerExhibited
New York, Rose Fried Gallery, Joaquín Torres-García 1874-1949: 15th Memorial Exhibition, January 6–February 13, 1965, n.p. (illustrated)
Artist Biography
Joaquín Torres-García
Uruguayan • 1874 - 1949
Joaquín Torres-García was born in Montevideo and moved to Barcelona with his family, studying at the Escuela Oficial de Bellas Artes. The Catalan Noucentismo movement provided the foundation for his artistic development. His work was also influenced by Neo-Plasticism, Cubism and Vibrationism, which fused Cubism and Futurism with urban imagery.
Torres-García returned to Uruguay after a 43-year absence. While at home, he continued to develop his iconic style of Constructive Universalism, a chief contribution to modernism that affected many younger generations of Uruguayan artists. This style aspired to establish a universal structural unity through synthetic abstraction. In order to accomplish this, Torres-García synthesized rather than analyzed the quotidian elements and urban scenes from reality. While remaining in the world of figuration, he integrated abstraction's structural grids within the composition, also incorporating pre-Columbian aesthetics.
Property from a Distinguished London Collector
145
Tres figuras en estructura
signed and dated “J. Torres 28 Julio 1937” lower left; signed “AAÇ” lower right
tempera on cardboard
31 7/8 x 39 3/4 in. (81 x 101 cm)
Executed on July 28, 1937, this work is no. 1937.19 in the Joaquín Torres-García Online Catalogue Raisonné.
Estimate
$600,000 - 800,000
Sold for $604,800
Annie Dolan
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20th Century & Contemporary Art Day Sale, Morning Session
New York Auction 16 November 2022
101
Bob Thompson
The Family
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102
Richard Mayhew
Guardian
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103
Emily Mason
Like Frost Upon a Glass
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104
Vivian Springford
Untitled
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105
Wolf Kahn
Evening Brook
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106
Joan Mitchell
Untitled
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107
Ed Clark
Black Daylight
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108
Beauford Delaney
Yellow Abstraction
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109
Gerhard Richter
14.2.88
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110
Howard Hodgkin
Tea with Mrs. Parikh
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111
Jack Whitten
Dutch Treat III
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112
Sam Gilliam
Untitled
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113
Norman Lewis
Untitled
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114
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115
Helen Frankenthaler
Brown Bird
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116
Norman Lewis
Fleshy Phase
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117
Ernie Barnes
Window Wishing
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118
Ernie Barnes
My Man
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119
Alex Katz
Richard Marshall
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120
John Wesley
Let's Get Out of the Hall
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121
Ed Ruscha
Industrial Village and Its Hill
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122
Gerhard Richter
Hyänen
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123
Andy Warhol
Mineola Motorcycle (positive)
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124
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125
Roy Lichtenstein
Modern Sculpture with Velvet Rope
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126
John Chamberlain
Noogatory
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127
Craig Kauffman
Untitled
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128
Ken Price
Zazz
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129
Agnes Martin
Untitled
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130
Brice Marden
Untitled
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131
Ettore Spalletti
Azzurro, eco
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132
Anne Truitt
Parva LIII
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133
Sergio Camargo
Untitled
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134
Louise Nevelson
Dawn's Landscape XXIX
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135
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136
Jiro Takamatsu
Shadow (No. 1448)
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137
Isamu Noguchi
Model for Twin Sculpture for Bayerische Vereins Bank, Munich
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138
Yayoi Kusama
No. B
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139
Barbara Hepworth
Squares (June)
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140
Barbara Hepworth
Three Forms (Winter Rocks)
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141
Henry Moore
Girl Seated against Square Wall
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142
Joan Miró
Femme
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143
Salvador Dalí
Vénus de Milo aux tiroirs
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144
Pablo Picasso
Le transformateur
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145
Joaquín Torres-García
Tres figuras en estructura
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146
Leonora Carrington
Untitled (Griffin)
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147
Julio Galán
Diamah
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148
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149
Pablo Picasso
Nu se coiffant
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150
Piet Mondrian
Iris Bloom in Bud Vase
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151
Wassily Kandinsky
Ohne Titel
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152
Marc Chagall
Bouquet au village
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153
Andrew Wyeth
Loon Drake (Loon)
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154
Jaune Quick-to-See Smith (Confederated Salish and Kootenai)
Summer Journey thru Indian Lands
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155
Jean-Michel Basquiat
Vehement Alley Cats
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156
Ouattara Watts
La Danseuse de Zanzibar
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157
Robert Colescott
Love Hate Relationship
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158
Ernie Barnes
Study Sketch for Dance Couple
Estimate $15,000 - 20,000
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159
Romare Bearden
The Blue Light
Estimate $25,000 - 35,000
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160
Steve Wheeler
The Jewel Thief
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161
Carl Andre
Untitled
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162
Yayoi Kusama
Infinity Nets (Sunset)
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163
Anne Truitt
Summer '96 No. 65
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164
Carmen Herrera
Untitled
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165
John Wesley
Cheep
Estimate $20,000 - 30,000
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166
Tom Wesselmann
Judy
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167
Tom Wesselmann
Study for Bedroom Nude (folding screen)
Estimate $80,000 - 120,000
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168
Tom Wesselmann
Study for Mauve Roses
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169
Alex Katz
Vivien
Estimate $35,000 - 55,000
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170
Alex Katz
Vincent
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171
Andy Warhol
Hamburger
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172
Andy Warhol
Monkey (Toy Painting)
Estimate $80,000 - 120,000
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173
Andy Warhol
Torso
Estimate $90,000 - 120,000
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174
Mel Ramos
Donut Doll: The Lost Painting of 1965 #42
Estimate $80,000 - 120,000
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175
Larry Rivers
The Elimination of Nostalgia, ABC
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176
Elaine de Kooning
John Glykos
Estimate $25,000 - 35,000
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177
Elaine de Kooning
Catskill Series
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178
Willem de Kooning
Untitled
Estimate $60,000 - 80,000
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179
Atsuko Tanaka
1975 March
Estimate $100,000 - 150,000
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180
Adolph Gottlieb
Calligraphy
Estimate $150,000 - 200,000
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181
Theodoros Stamos
Greek Easter
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182
Vivian Springford
Untitled
Estimate $60,000 - 80,000
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183
Elizabeth Murray
Pico
Estimate $20,000 - 30,000
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184
Thomas Downing
Split Possession
Estimate $40,000 - 60,000
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185
Joe Goode
Untitled (from Vandalism Series)
Estimate $60,000 - 80,000
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186
De Wain Valentine
Untitled (Red Double Wheel)
Estimate $40,000 - 60,000
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187
James Turrell
Untitled (XC)
Estimate $40,000 - 60,000
Sold for $52,920
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188
Ed Ruscha
Gasoline Stations
Estimate $120,000 - 180,000
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189
Joseph Kosuth
Word, Sentence, Paragraph (Z. & N.) #16
Estimate $80,000 - 120,000
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190
George Rickey
Ommaggio a Bernini Variation III
Estimate $100,000 - 150,000
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191
Frank Gehry
Fish Lamp
Estimate $150,000 - 200,000
Sold for $176,400
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192
Beverly Pepper
Shedua Plaza
Estimate $20,000 - 30,000
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193
Dorothy Dehner
Untitled
Estimate $10,000 - 15,000
Sold for $16,380
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194
Melvin Edwards
Makatini
Estimate $30,000 - 50,000
Sold for $132,300
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195
Louise Nevelson
Black Cryptic V
Estimate $15,000 - 20,000
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196
Louise Nevelson
Volcanic Magic XXIV
Estimate $15,000 - 20,000
Sold for $40,320
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197
Richard Artschwager
Untitled (Chair)
Estimate $7,000 - 10,000
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198
Sir Anthony Caro, O.M, R.A.
Dusky Rose
Estimate $60,000 - 80,000
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199
Sir Anthony Caro, O.M, R.A.
Table Piece CCCXXXVI
Estimate $30,000 - 50,000
Sold for $81,900
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200
Sir Anthony Caro, O.M, R.A.
Table Piece CCLXI
Estimate $30,000 - 40,000
Sold for $40,320
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201
Mimmo Paladino
Untitled
Estimate $90,000 - 100,000
Sold for $151,200
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202
Manolo Valdés
Mariposas IV
Estimate $120,000 - 180,000
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203
Juan Genovés
Columna I
Estimate $120,000 - 180,000
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204
Karel Appel
The Entry
Estimate $80,000 - 120,000
Sold for $277,200
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205
Bernard Buffet
Glaïeuls rouges
Estimate $100,000 - 150,000
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206
Victor Vasarely
Song II
Estimate $40,000 - 60,000
Sold for $50,400
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207
Julian Stanczak
Offended Red
Estimate $25,000 - 35,000
Sold for $30,240
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208
Pedro Coronel
Año uno Luna No. 3
Estimate $180,000 - 250,000
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209
Carlos Cruz-Diez
Transchromie Dames B Harmonie 3
Estimate $45,000 - 55,000
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210
Carlos Cruz-Diez
Transchromie Mecanique A
Estimate $40,000 - 60,000
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211
Omar Rayo
Velamen del Wayuú XXV
Estimate $20,000 - 30,000
Sold for $25,200
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212
Alberto Biasi
8-8 8-8 dinamiche
Estimate $10,000 - 15,000
Sold for $12,600
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213
Jorge Eielson
Amazzonia
Estimate $30,000 - 40,000
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214
Sam Gilliam
Over and Under
Estimate $20,000 - 30,000
Sold for $30,240
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215
Frank Stella
Wake Island Rail
Estimate $70,000 - 100,000
Sold for $132,300
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216
Julian Opie
Hoodie.
Estimate $20,000 - 30,000
Sold for $30,240
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217
Larry Rivers
Ann Among the Golden Oldies
Estimate $25,000 - 35,000
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218
Larry Rivers
Grey & Shadow Camel
Estimate $40,000 - 60,000
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219
Richard Artschwager
Pull
Estimate $18,000 - 25,000
Sold for $17,640
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220
Bernar Venet
Cosmography Drawing
Estimate $15,000 - 20,000
Sold for $15,120
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221
Larry Poons
Untitled
Estimate $10,000 - 15,000
Sold for $10,080
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222
Richard Pousette-Dart
Composition
Estimate $15,000 - 20,000
Sold for $15,120
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223
Helen Marden
Mali
Estimate $8,000 - 12,000
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224
Hannah Wilke
Three works (i-iii): Untitled
Estimate $10,000 - 15,000
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225
Helen Bershad
Untitled
Estimate $3,000 - 5,000
Sold for $13,860
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226
Teresa Serrano
Present, past and future
Estimate $5,000 - 7,000
Sold for $4,410
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227
Tomás Sánchez
Liberación del verde
Estimate $15,000 - 20,000
Sold for $15,120
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228
Dorothea Tanning
Rêve d’une jeune femme
Estimate $7,000 - 10,000
Sold for $23,940
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229
Marisol Escobar
Woman from Paris
Estimate $12,000 - 18,000
Sold for $15,120
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230
Max Ernst
Deux personnages réciproques
Estimate $15,000 - 20,000
Sold for $17,640
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231
Georges Valmier
Untitled
Estimate $6,000 - 8,000
Sold for $7,560
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232
Max Ernst
Arizona Landscape
Estimate $15,000 - 20,000
Sold for $25,200
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233
John Marin
From Green Head
Estimate $15,000 - 20,000
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234
Max Weber
Seated Figure
Estimate $2,000 - 3,000
Sold for $7,560
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235
This lot is no longer available.
236
Joseph Cornell
Die Weisse Frau (La Dame Blanche)
Estimate $25,000 - 35,000
Sold for $28,980
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237
Alexander Calder
Untitled
Estimate $40,000 - 60,000
Sold for $81,900
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238
Tom Wesselmann
Drawing for Great American Nude #93
Estimate $20,000 - 30,000
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239
Tom Wesselmann
Study for Self Portrait While Drawing
Estimate $15,000 - 20,000
Sold for $25,200
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240
Tom Wesselmann
Judy
Estimate $8,000 - 12,000
Sold for $16,380
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241
Tom Wesselmann
Two works: (i) Untitled; (ii) Study for Great American Nude #80
Estimate $20,000 - 30,000
Sold for $25,200
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242
Alex Katz
Unfamiliar Image
Estimate $20,000 - 30,000
Sold for $37,800
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243
Roy Lichtenstein
St. Macarius Before His Monastery
Estimate $10,000 - 15,000
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244
Kenny Scharf
Exotic Trend
Estimate $25,000 - 35,000
Sold for $32,760
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245
Sol LeWitt
Horizontal Brushstrokes
Estimate $12,000 - 18,000
Sold for $22,680
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