Attributed to Joaquin Torres-Garcia, it does not have a COA. Medem: oil board, 22 x 17 inches. Provenance: private owner.
Biography: 1874 - 1949. Born in Montevideo, Uruguay, Joaquin Torres-Garcia moved to Spain in 1891. In 1892 he studied at the School of Fine Arts and the Baixas Academy in Barcelona. He had his first individual exhibition in 1900 at the Salón la Vanguardia in Barcelona.In 1903 and 1907 he painted murals for Gaudi's Church of the Sagrada Familia and made stained glass windows for the cathedral of Palma de Mallorca. He painted murals for the Uruguayan Pavilion at the Brussels International Expositions of 1909-1910. In 1920 he went to New York and exhibited with Stuart Davis.He lived in Paris from 1924 to 1932, where he met Mondrian and Van Doesburg and founded the Cercle de Carré with Michel Seuphor. In 1938 he completed the Cosmic Monument in Montevideo's Parque Rodó and published extensive works on his theories. He established the Taller Torres-García in 1944, where he trained a new generation of artists.His work was featured in the 1992 exhibition at the Hirshhorn Museum, Washington, D.C., crosscurrents of Modernism, Four Latin American Pioneers: Diego Rivera, Joaqui­n Torres-Garcia, Wifredo Lam and Matta, and also in 1991 at the exhibition La Escuela del Sur: El Taller Torres-Garcia y su legado, which originated at the Museo Nacional Centro de Arte Reina Sofia and later traveled to the Archer M. Huntington Art Gallery, Austin, the Museo de Monterrey, Mexico, the Art Museum of the Americas, OAS, Washington, D.C., the Bronx Museum of the Arts, and then the Museo Rufino Tamayo in Mexico.

All authorship of items in this catalog are described according to the following terms:

Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.

By [Artist Name] : The work is by the artist.

Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.

In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.

Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).

American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

Mint