Early Life and Barcelona: 1890s–1919

About the chronology

Key events and activities of the life and artistic path of Joaquín Torres-García (JTG) are summarized in this chronology, which encompasses his works, exhibitions, writings, and life events. Other aspects of his career, such as the lectures he gave in Montevideo after his return in 1934, as well as the activities of the Asociación de Arte Constructivo (AAC) and the Taller Torres-García (TTG) are documented in the 1992 exhibition catalogue, El Taller Torres-García: The School of the South and Its Legacy (UT Press).

Only select artworks, exhibitions, and writings by the artist are featured in this chronology.  For more complete information, please browse the catalogue, exhibition, and literature sections of this catalogue raisonné.

The facts in the chronology have been gathered from a wide variety of sources and have been checked against the archives of the Museo Torres-García and those of Cecilia de Torres.  There exist in the public sphere numerous inaccuracies that have been previously published; this chronology has sought to correct those errors.

Chronology:   Early Life and Barcelona: 1890s–1919  //  New York: 1920–22  //  Italy: 1922–24  //  Villefranche-sur-Mer: 1925–26  //  Paris: 1926–32  //  Madrid: 1933  //  Montevideo: 1934–49

Documentary Materials

Documentary
photo (historical)
c. 1904

Torres-García in Palma de Mallorca, working on the restoration of the cathedral, La Seu, in Palma de Mallorca with Gaudí.

 
photo (historical)
Capilla del Santíssim Sacrament de l'església de Sant Agustí, Barcelona
linked catalogue entries »
 
photo (historical)

Colegio Mont d'Or, c. 1910-1911

In the second row, the man seated at left is Joan Palau i Vera; at right is Torres-García.  The man in the first row is Cebriá de Montoliu

 
photo (historical)

Torres-García in Antoni Gaudí's studio at the Sagrada Familia Cathedral, Barcelona 1903.

 
photo (historical)

The home of Emilio Badiella in Terrassa, Spain.

linked catalogue entries »
 
photo (historical)

The home of Emilio Badiella in Terrassa, Spain.

linked catalogue entries »
 
photo (historical)

Torres-García teaching at Mont d'Or, c. 1912.

 
Family
photo (historical)
The artist with his family

Left to right: The artist's mother, María García Pérez; his father, Joaquín Torres Fradera, holding his sister, Inés, and Torres-García, c. 1892.

 
photo (historical)

Torres-García and his wife, Manolita Piña de Torres, Barcelona, 1909.

 
photo (historical)

The artist's mother, Maria Garcia Perez de Torres, in a room in Mon Repos decorated with the artist's work.

linked catalogue entries »
 
photo (historical)

The artist, his wife, and their eldest daughter, Olimpia.

 
photo (historical)

Torres-García with his family at Mon Repos, c. 1919

 
photo (historical)

Manolita Piña de Torres in her bedroom in Sarría.

linked catalogue entries »
 
Friends
photo (historical)
Roberto Payró in Brussels, c. 1910
linked catalogue entries »
 
photo (historical)
linked catalogue entries »
 
Mon Repos

Mon Repos is the name of the artist's house in Terrassa.

linked catalogue entries »
artwork

Woodcut print by the artist, announcing the address of their new home, Mon Repos, 1915

 
photo (historical)
Interior of Mon Repos
linked catalogue entries »
 
photo (historical)
Photograph of Mon Repos
linked catalogue entries »
 
photo (historical)
Photograph of Mon Repos
linked catalogue entries »
 
photo (historical)
Photograph of Mon Repos
linked catalogue entries »
 
photo (historical)
The artist and his family at Mon Repos, 1916
 
photo (historical)
The artist and his family at their home, Mon Repos, 1916
linked catalogue entries »
 
photo (historical)
The artist and his family at their home, Mon Repos, 1916
 
photo (historical)
The artist and his family at their home, Mon Repos, 1919
 
photo (historical)
The artist and his family on the steps of their home, Mon Repos, 1916

From left to right: Ifigenia, Manolita, the artist, Augusto, and Olimpia.

 
photo (historical)

The artist and his family at Mon Repos, 1916

 
Photographs of the artist
photo (historical)

Torres-García at the Academy in Barcelona, c. 1893-1894.

 
photo (historical)

Torres-García, c. 1900.

 
photo (historical)

Torres-García with pipe, c. 1903.

 
photo (historical)

Torres-García in Antoni Gaudí's studio at the Sagrada Familia Cathedral, Barcelona c. 1903.

 
photo (historical)

Torres-García, c. 1910-1912.

 
photo (historical)

Torres-García, c. 1912.

 
photo (historical)

Torres-García, c. 1913.

 
St. Jordi
illustration
Emili Ferrer
Political cartoon from La Veu de Catalunya
 
photo (historical)
linked catalogue entries »
 
photo (historical)
linked catalogue entries »
 
Studio photography

Studio photography while in Barcelona.

photo (historical)
linked catalogue entries »
 
Toys
Joaquín Torres García

Locomotora sketch, 1919

linked catalogue entries »
 
Joaquín Torres García
1917-1919
linked catalogue entries »
 
illustration
Locomotive
Joaquín Torres García
Pencil on paper, 1918 7.2 x 13.1 cm
linked catalogue entries »
 
illustration
Joaquín Torres García
linked catalogue entries »
 
illustration
Joaquín Torres García
1917-1919
linked catalogue entries »
 
illustration
Joaquín Torres García
1917-1919
linked catalogue entries »
 
illustration
Joaquín Torres García
1917-1919
linked catalogue entries »
 
illustration
Joaquín Torres García
1917-1919
linked catalogue entries »
 
illustration
Joaquín Torres García
1917-1919
linked catalogue entries »
 
illustration
Joaquín Torres García
1917-1919
linked catalogue entries »
 
illustration
Joaquín Torres García
1917-1919
linked catalogue entries »
 
illustration
Joaquín Torres García
1917-1919
linked catalogue entries »
 
object

Invitation to the exhibition Joguines d'art de Torres-García at Galeries Dalmau, December 1918

linked catalogue entries »
 

1874–90

July 28, 1874: Joaquín Torres-García (JTG) is born in Montevideo, Uruguay, to Joaquín Torres Fradera, an immigrant from Mataró (a city in the region of Catalonia, Spain), and María García Pérez, the daughter of Spanish parents. A brother, Gaspar, and a sister, Inés, are born in 1875 and 1890, respectively.

Torres Fradera owns a general store in Montevideo that occupies a large warehouse alongside stables, a bar, and a carpentry shop, where JTG first experiments with constructing in wood. He also enjoys opening and assembling the boxes of imported goods, such as sewing machines, furniture and tractors. In spite of Uruguayan law regarding compulsory education, JTG leaves school to study at home by himself with his mother.

Although Uruguay experiences great economic growth during these years, it also suffers internal strife, conflict with bordering countries, and recessions in 1875 and 1890 that reverse Torres Fradera's business.

1891

Tired of the economic uncertainty in Uruguay, Joaquín Torres Fradera returns with his family to Spain, settling in Mataró, his native village. JTG is struck by the handmade objects and traditional customs so different from what he knew in Uruguay.

JTG receives his first formal art training, studying drawing and painting with Josep Vinardell (1851-1918) at the local Arts and Crafts School, Escola Municipal d’Arts i Oficis (Municipal School of Arts and Crafts).

1892

JTG’s family settles in Barcelona, the capital of the Catalonia region, where JTG attends night courses at the Escola Oficial de Belles Artes, La Llotja. His fellow students there are Ricard Canals, Joaquim Mir, Isidre Nonell, and Joaquim Sunyer. He also takes art courses at Academia Baixas during the day.

Catalonia experiences a rise of nationalism and aspirations for autonomy. Catalan as a literary language and traditional music are revived. A confederation of Catalanists, including politician Enric Prat de la Riba (1870–1917) and architect Josep Piug i Cadafalch (1867–1957; also a native of Mataró) establish the Lliga de Catalunya (Catalan League) and the Unió Catalanista (Catalan Union).

1893–95

JTG joins the newly formed Cercle Artístic de Sant Lluc, where he meets poet Eduardo Marquina (1878–1946), art historian Josep Pijoan (1880–1963), writers Luis de Zulueta (1878–1964) and Pedro Moles, and the musician A. Ribera, who introduces him to Richard Wagner’s music. JTG attends lectures by Catholic priest Josep Torras i Bages (1846–1916), who asserts that the artist’s task is to seek redemption through obedience to God and promotes the search for faith and balance in nature’s harmony. Inspired by Torras i Bages, JTG studies Greek literature and philosophy, including Georg Wilhelm Friedrich Hegel, Immanuel Kant, and Arthur Schopenhauer.

JTG travels to Madrid to see the Museo Nacional del Prado, where he meets the artist, Julio González.

February: Painters Raimon Casas, Santiago Rusiñol, and sculptor Enric Clarasó exhibit at Sala Parés, Barcelona; their style, similar to Art Nouveau, becomes known as the Modernista school, associated by conservatives with fin-de-siècle decadence.

Exhibitions

1894: JTG participates as a Uruguayan in the foreign section of “Segona Exposició General de Belles Artes i Indústries Artístiques” (Second General Exhibition of Fine Arts and Artistic Industries), Barcelona.

1896

December: Sala Parés, Barcelona, presents an influential exhibition of French Art Nouveau posters by, among others, Alfons Mucha, Theophile Steinlen, and Henri Toulouse-Lautrec, which are a revelation for JTG.

Exhibitions

Spring: “Tercera Exposició General de Belles Arts i Indústries Artístiques” (Third General Exhibition of Fine Arts and Artistic Industries). As in the previous year, JTG participates as a Uruguayan in the foreign section.  He receives an honorable mention for an advertising poster in watercolor.

1897

JTG frequents the café Els Quatre Gats with artists including the González brothers, Picasso, the composer Isaac Albéniz (1860-1909), Miquel Utrillo (1862–1934), and the writer Eugenio D’Ors (1881–1954). He joins El Cenacle, a group of artists and writers who gather at Julio Gonzalez’s workshop.

Works

JTG designs posters, among them a poster for the magazine El Gato Negro. He works as a book illustrator and designs magazine covers.

Exhibitions

January 5: JTG’s first solo exhibition, in the Saló de la Vanguardia, Barcelona, an exhibition gallery in the office building of the newspaper La Vanguardia.

March 5: Group exhibition at Cercle Artistic de Sant Lluc. Raimon Casellas in La Vanguardia praises JTG’s “elegant charcoal portraits and color drawings.”

1898–1900

JTG travels to Madrid with artist Pau Roig (1879-1955), where he is struck by the work of El Greco, Tintoretto, Titian, and Paolo Veronese at the Prado museum.

JTG discovers the work of the French neoclassical painter and muralist Pierre Puvis de Chavannes, who had recently died. For JTG, Puvis’s work, rooted in the Mediterranean tradition, represents a more authentic painting style for Catalonia than the Impressionism and Art Nouveau that inspired the Modernistas.

Picasso leaves Barcelona for Paris after first exhibition at Els Quatre Gats.  Julio Gonzalez and his family also leave Barcelona and settle in Paris.

Works

Besides creating charcoal drawings in the style of Toulouse Lautrec, JTG draws buildings and urban landscapes exploring the structural and tectonic qualities of architecture, which will reemerge in his later works in wood and his paintings.

Exhibitions

1900: JTG’s second solo exhibition at Saló de la Vanguardia, Barcelona.

1901–03

1901: JTG teaches drawing and painting privately to the sisters Carolina and Manolita Piña. He marries the latter in 1909.

July 1901: Miguel Utrillo publishes “Joaquín Torres-García Decorator,” Pèl i Ploma. Reproduced on the cover is Font de joventut, c.1901 (1901.09).

1903: JTG works with architect Antoni Gaudí on Gaudí’s Sagrada Familia Catedral, Barcelona.

Works

JTG paints in a classical Mediterranean style inspired by Puvis de Chavannes.

Exhibitions

1901: Solo exhibition, Sala Parés, Barcelona.

Writings

“Impressions.” Pèl i Ploma (Barcelona), July 1901.

1904–06

1904: JTG works with Gaudí on the restoration of La Seu, Palma, Mallorca’s cathedral, for which JTG designs four stained-glass windows  (Stained glass from the Royal Chapel of the Cathedral of Palma de Mallorca, c.1903 (1903.05).) using glass of various thicknesses in primary colors to achieve the desired tone and brightness, a method devised by Gaudí.

D’Ors—writing for the weekly El Poble Catalá (The Catalan People) under the pseudonym Octavi de Romeu—remarks on JTG’s aptitude for large mural decorations.

April 13, 1904: JTG's father dies.

Works

1906: JTG obtains his first mural commission: ten canvases for the home of Baron de Rialp in San Gervasi, Barcelona, depicting scenes of country life (now in the Collection Centro de Arte Museo Nacional Reina Sofía, Madrid).

Exhibitions

1905: Group exhibition, Sala Parés, Barcelona.

Writings

“Angusta et Augusta.” Universitat Catalana (Barcelona), no. 5 (May 1904): 71-72.

1907–08

JTG joins the faculty of the Mont d’Or, a school founded in 1905 by J. Palau i Vera that was rooted in the progressive Montessori educational method. There he teaches arts and crafts to children aged seven to twelve. JTG studies pedagogy and psychology.

The Barcelona Municipality presents the Fifth International Art Exhibition featuring works by Édouard Manet, Claude Monet, James Ensor (1860-1949), Giacomo Balla, and Francis Picabia, and three preparatory boards for the murals by Puvis de Chavannes for the Paris Panthéon.

Works

JTG works on several mural commissions: Mural for the Capilla del Sant?ssim Sacrament de l'esgl?sia de Sant Agust?, 1907 (1907.03a), Barcelona (destroyed in fire, 1936); l’església de la Divina Pastora (Church of the Holy Shepherdess), Sarrià (painted over, 1910); Sala de la Comissi? d'Hisenda, Ajuntament de Barcelona, 1908 (1908.01a) (destroyed, 1910).

Writings

“Una nova artista” (A new artist), Feminal, no. 2.

“La nostra ordinació i el nostre camí” (Our order, our path). Empori (Barcelona), no. 4 (April 1907): 188-91.

“El dibuix educatiu a Mont d’Or” (Educational drawing at Mont d’Or). La Illustració Catalana (Barcelona), 5, no. 236 (December 8, 1907).

“El literat i l’artista” (The man of letters and the artist). Empori, no. 12 (June 1908): 216-17.

1909–10

JTG travels to Tarragona, Spain, to see the Roman ruins.

February 22, 1909: Filippo Tommaso Marinetti’s Futurist manifesto “Le futurisme à Paris” is published in Le Figaro; it is translated to Catalan and published in El Poble Catalá on March 9.

August 20, 1909: JTG marries Manolita Piña and moves to Sant Gervasi in the outskirts of Barcelona.

November 1909: JTG and Manolita travel to Brussels, where JTG is commissioned to paint two panels illustrating agriculture and cattle raising for the Uruguayan pavilion at the Brussels Universal Exposition.

February 1910: On their way back to Barcelona, JTG and Manolita stop in Paris to see Puvis de Chavannes’s murals at the Panthéon. They also visit Julio González and Pau Roig.

November 1910: The couple settles in Vilassar de Mar, a small town by the sea thirty kilometers outside Barcelona.

Exhibitions

October 1910: Solo exhibition, Faianç Catalá, Barcelona with landscapes of Brussels, Antwerp, and Paris.

1911

April 5: Daughter Olimpia is born.

July: JTG is nominated by d’Ors, and others, to decorate the Saló de Sant Jordi in the Palau de la Generalitat, a palace dating from the fifteenth to seventeenth century that houses Barcelona’s Congress. D’Ors promotes JTG as representing the Noucentista aesthetic. The term Noucentista, coined by d’Ors in 1906, means “of the twentieth century.” Its goal is the affirmation of Catalan nationalism.

D’Ors publishes the Almanac dels noucentistes with works by Josep Aragay, Ricard Canals, Joan Clará, Pablo Gargallo, Joaquim Mir, Xavier Nogués, Isidre Nonell, Picasso, Pijoan, Ismael Smith, Pere Torné, and JTG.

October: JTG and his family move to Sarriá, a suburb of Barcelona.

Works

JTG completes a large panel painting, Filosofia presentada por Palas Atenea en el Parnaso como la D?cima Musa), c.1911 (1911.09) that he donates to the Institut d'Estudis Catalanas in Barcelona.  The painting follows an an earlier work of the same subject created three years earlier La Filosofia presentada por Palas en el Parnaso (Filosofia Xa Musa), c.1908 (1908.03) that the artist gifted to d'Ors.

Exhibitions

June: Group exhibition, “Exposición Internacional de Arte,” organized by the Barcelona Municipality.

Writings

“El ideal artístico” (The artistic ideal). Cataluña (Barcelona), January 7, № 170-171(special issue).

1912

February: D’Ors publishes “Pel Cubisme a l’estructuralisme” in La Veu de Catalunya, in which he proposes a relationship between Cubism and the Noucentista aesthetic. The article sparks a debate that leads to the organizing of “Exposición de Arte Cubista” by the Galeries Dalmau, Barcelona; opening in April, the exhibition includes works by Marcel Duchamp and Juan Gris, among others.

JTG studies primitive art and folk traditions, and reads the book Los comienzos del arte (The Origins of Art) by Ernst Grosse published in Barcelona in Spanish in 1906 (after Die Anfänge der Kunst, Freiburg: Leipzig, 1894).

April-August 23: JTG is commissioned to decorate the Saló de St. Jordi.  To prepare, he travels to Italy (Pisa, Florence, Rome) to see early Roman and Renaissance fresco painting. He stops in Saint-Cergue, Switzerland, where he completes sketches for the Diputació de Barcelona (Barcelona Provincial Council) murals. 

September: JTG and his family settle in Can Bogunyá, near Terrassa, where the Mont d’Or School is now established. The school’s new director is Pere Moles, JTG’s friend and brother-in-law. JTG teaches drawing and crafts.

Exhibitions

January: Solo exhibition of drawings and paintings in classical themes at the Galeries Dalmau, Barcelona. Catalogue text by Eugenio d’Ors names JTG as the ideal Noucentista painter.

Writings

“Consideracions al voltant del cubisme i de l’estructuralisme pictòric” (Considerations regarding Cubism and pictorial structuralism). La Veu de Catalunya (Barcelona), February 22.

1913

June 19: Son Augusto is born.

September: JTG creates the Escola de Decoració in Sarriá, with workshops aimed at promoting a Catalan-Mediterranean aesthetic through fresco painting, etching, sculpture, ceramics, and weaving.

October: Public viewing of JTG’s first mural at the Saló de Sant Jordi, which provokes both negative and positive reviews. JTG ends his relationship with d’Ors because he feels that the critic failed to support his work.

November: Joseph Roca i Roca, art critic for the newspaper La Actualidad, publishes several negative articles about the Sant Jordi murals. Nevertheless, Prat de la Riba ensures that JTG continues to work on the project.

Works

July 28-September: JTG paints the first fresco mural at the Saló de Sant Jordi:  La Catalunya Eterna, 1913 (1913.02).

Writings

“Dues notes més” (Two more notes), La Veu de Catalunya, October 16.

Notes sobre Art (Notes about art), Gerona: Rafael Masó.

1914

January: The sixth issue of Les Tendences Nouvelles, Paris, includes reproductions of JTG’s work.

July: JTG purchases land at Can Colomer, outside Barcelona, and builds a house he called Mon Repós, which he decorates with frescoes. Although some were lost, four were removed in 1993 and are now in the collection of the Fundación Cultural de la Caixa de Terrassa.

August: The Mont d’Or School closes.

Works

JTG begins painting Mediterranean pastoral themes in frescolike texture. He surrounds the works with architectural-style frames with columns and pediments made from rough, whitewashed wood, his first use of wood elements in conjunction with painting.

JTG’s painting is influenced by the simplicity of country life.

Writings

Excerpts from Notes sobre art (1913) in Revista de la Escola de Decoració (Barcelona) (March): 1-5, 10, 27 (only issue).

1915

The Spanish painter Joaquín Sorolla (1863-1923) visits JTG at the Saló de Sant Jordi to express his support.

December 12: Daughter Ifigenia is born.

Works

Completes and installs two stained-glass windows at the Gothic Room of the Sala del Consell (Council Room) in the Generalitat (now lost): Stained glass windows for the Gothic Room of the Sala del Consell, Palau de la Generalitat, 1915 (1915.18)

September: Completes the second Sant Jordi mural:  La Edad de Oro de la Humanidad, 1915 (1915.01).

Writings

Diàlegs. Terrassa: Tipografia Mulleras.

“De la influencia de l’art mediterrani en els paisos medionals” (On the influence of Meditarranean art on southern countries). Recull de Treballs de la Escola de Decoració, Barcelona, 3-6.

“Sobre les exposicions i les revistes de arte” (On exhibitions and art reviews). Recull de Treballs,18-21.

“Crónica de Arte Catalán del Siglo XX” (Chronicle of twentieth-century Catalan art). La Publicidad (Barcelona).

“Dario de Regoyos,” text for “Dario de Regoyos” exhibition at Galeries Dalmau.

1916

December: JTG is introduced to the work of foreign artists living in Barcelona temporarily during the war. Albert Gleizes (1881-1953), Sonia (1885-1979) and Robert Delaunay (1885-1941), and Marie Laurencin (1885-1956) show their work at Galeries Dalmau.

Works

August-September: JTG completes the third and fourth Sant Jordi murals:  Las Artes, 1916 (1916.17) and  Lo temporal no es mes que simbol, 1916 (1916.18); the latter is the most controversial.

October: JTG starts murals on the façade and interior of the home of local businessman Emilio Badiella in Terrassa.

Writings

Vell i Nou (Barcelona), 2, no. 31 (August 15). 

Un ensayo de clasicismo: La orientación conveniente al arte de los países del mediodía (An essay about classicism: The suitable orientation for meridional countries). Terrassa: Tipografia Mulleras.

“Les noves idees estètiques d’En Torres-García”(Torres-García’s new aesthetic ideas).

1917

January: Picabia launches the Dadaist magazine 391 in Galeries Dalmau (four issues total between January and March).

April: JTG meets Parisian art dealer Ambroise Vollard, who is in Barcelona for an exhibition of French art at the Palau de Belles Artes. JTG takes him to see the murals at the Saló de Sant Jordi.

June: JTG sees the ballet Parade by the Ballet Russes at the Gran Teatre del Liceu, Barcelona, with music by French composer Eric Satie, costumes by Picasso, and scenery by Jean Cocteau.

August: Uruguayan painter Rafael Barradas (1890-1929) visits JTG with Catalan poet J. Salvat Papasseit (1894-1924).  Barradas is sixteen years younger than Torres-García. He moved to Italy in 1913, where he became familiar with the Futurist movement. Barradas and JTG develop a close friendship during the year and a half they are in Barcelona together. Their shared interest in the dynamic modern urban life leads them to develop Vibracionismo (Vibrationism), a painting style JTG describes as a simultaneity of visual stimuli translated to the canvas in color combinations or vibrations.

JTG’s supporter in the Barcelona city government, Prat de la Riba, dies. His successor, architect J. Puig i Cadafalch, cancels JTG’s contract to complete more murals.

November: JTG moves to Sarriá, where he meets his neighbor Cebria de Montoliu (1873-1923), a lawyer, urban planner, poet, and translator to Catalan of English literature. Montoliu, who moves to New York in 1920, is an important influence on JTG, introducing him to the poetry of Walt Whitman.

December 10: La Publicidad announces that JTG’s four frescoes at the Saló de Sant Jordi will be covered by tapestries.

Works

JTG designs first wood toys, among them: vehicles, consisting of wheels on an axle, a chassis, a hood, and different bodies that can be put together as a car, a truck, or a bus; a locomotive in seventeen pieces; horse carts; and a hobbyhorse.

JTG paints the urban scene as an organized superposition of fragments of elements, such as buildings, signs, vehicles, trains, figures, telephone wires, letters, and numbers.

JTG completes the sketches for La Catalunya Industrial (Industrial Catalunya), the fifth mural for the Saló de Sant Jordi, which he never paints.

June: In his illustration for Un Enemic del Poble, JTG divides the picture plane and places an image in each compartment, a style he would develop further in the 1920s in paintings on canvas and wood that would constitute the foundation of his Constructive Universalism. 

Exhibitions

February: Solo exhibition, Galeries Dalmau, Barcelona. At the opening, JTG reads a lecture about his new direction in art.

December: Undaunted by the indifference toward his new paintings and the controversy over his Sant Jordi murals, JTG simultaneously opens three exhibitions in Barcelona: at Galeríes Laietanes, Salón de La Publicidad, and Galeries Dalmau, the last with Rafael Barradas. He shows a total of one hundred works.

Writings

“El arte de nuestro tiempo” (The art of our century). La Publicidad, March.

“Consells als artistes” (My advice to artists). Un Enemic del Poble: Fulla de subversio espiritual (Barcelona) (March).

“Conferencia a Can Dalmau” (A lecture at Dalmau), La Veu de Catalunya, March 19, and April 16.

“En digué tot aixó” (All I have said ). La Revista (Barcelona), 3, no. 37, April 16.

“Notas de arte: Clasicismo Moderno” (Notes on art: Modern classicism). Semanario España (Barcelona), no. 117, April 19.

“L’exposició d’art francés” (The exhibition of French art). La Revista, 3, no. 42 (June 16): 233‒37.

“D’altra orbita” (In another orbit). Un Enemic del Poble, June.

“Crónica de arte: ante una emigración posible” (An art chronicle: Considering a possible emigration). La Publicidad, July 31

“Art Evolució (a manera de manifest) (Art evolution [a manifesto]). Un Enemic del Poble, no. 8, November.

“Los artistas uruguayos en Europa, Rafael Barradas” (Uruguayan artists in Europe: Rafael Barradas). El Siglo (Montevideo), November 24.

"Un ballet Rus de Picasso:Parade" La Revista (December 1).

“Notes d’art.” Vell i Nou 3, no. 56 (December 1): 653-55.

“Evolucionismo.” La Publicidad, December 12.

“Algunas notas sobre la decoración de las casas” (Notes on house decoration). Salón Reig (Barcelona).

El descubrimiento de si mismo: Cartas a Julio que tratan de cosas muy importantes para los artistas (The discovery of oneself: Letters to Julio about issues of importance for artists). Gerona: Rafael Maso.

“Sobre la personalidad” (On personality), La Vanguardia.

1918

February: Joan Miró’s first solo exhibition at Galeries Dalmau.

May: Disappointed with the art establishment, JTG joins a group of young artists that call themselves Agrupació Courbet (Courbet Group). The group disbands a year later when several members leave for Paris. They briefly regroup as Els Especulatius (Speculators); members include Picasso and Miró.

Works

November: JTG partners with the manufacturer Francisco Rambla to make wood toys.

Exhibitions

Group exhibition “Exposició Collectiva de l'Agrupació Courbet” at Palau de Belles Arts, Sala Sant Lluc, Barcelona.

December: “Joguines d’Art” (Art Toys) exhibition at Galeries Dalmau; catalogue text by Torres-García.

Writings

“Evolucionismo.” La Publicidad, January 2.

“Evolucionismo.” La Publicidad, February 2.

“Evolucionismo.” La Publicidad, February 19.

“Evolucionismo.” La Publicidad, March 14.

“Art-Evolució” (Art-evolution) Arc-Voltaic, no. 1, February.

“La critica d’art i els artistes” (Art criticism and artists). Vell i Nou, , no. 65 (April 15): 154.

“El públic i les noves tendències d’art” (The public and new art tendencies). Vell i Nou 4, no. 67 (May 15).

“Plasticisme” Un Enemic del Poble, June.

“Notes d’ art” (Notes on art). El Día (Terrassa), no. 104, July 19.

“Natura i Art” (Nature and art). Un Enemic del Poble, October.

“Devem Caminar” ([They] should advance). Un Enemic del Poble, November.

“Art Evolució.” Un Enemic del Poble, November.

1919

January: The young painters Enric Ricart (1893-1960) and Joan Miró visit JTG in his studio.

Photographs of JTG’s toys are published in Vell i Nou, no. 82 (January 1): 13.

May 3: JTG writes a letter to Barradas explaining that he has to postpone his plan to move to New York.

June: JTG presents a stand with his toys in the Sixth Exposition of Toys and Household Articles at the Universidad Industrial Barcelona. For the occasion he publishes an illustrated toy catalogue: Francisco Rambla, Toy Manufacture (Barcelona: Imprenta Rubí, 1919).

August: JTG lectures at Universidad Industrial about teaching art to children, and shows drawings by students at the Mont d’Or, which he would keep all his life.

Mexican muralist David A. Siqueiros meets JTG and Barradas in Barcelona. They plan the publication of the magazine Vida Americana,. The first and only issue is released in May 1921.  In August, Barradas moves to Madrid.

November: JTG’s friend the Spanish-born painter Rafael Sala (1891-1927) leaves for New York.

Exhibitions

May 30–June 30: Salón de Primavera, Barcelona. JTG includes drawings for the murals he could not complete and eleven paintings.

December: Galeries Laietanes, Barcelona.

Writings

L’art en relació amb l´home etern i l’home que passa (Art in relation to the man who is eternal and the man who is finite). Sitges, Spain: Eco de Sitges.

“Jo” (I). L’Instant, 2, no. 5, October 15.

Regeneració de sí Mateix (Regeneration of oneself). Barcelona: Salvat-Papasseit.

“Dialegs d’Art” (Art dialogues). L’Instant, October 15.

“Hechos” (Facts), unpublished; excerpts published in Un Enemic del Poble, no. 17 (March): 1.

 

Chronology:   Early Life and Barcelona: 1890s–1919  //  New York: 1920–22  //  Italy: 1922–24  //  Villefranche-sur-Mer: 1925–26  //  Paris: 1926–32  //  Madrid: 1933  //  Montevideo: 1934–49
Please note that the information on this and all pages is periodically reviewed and subject to change.
Citation: de Torres, Cecilia and Susanna V. Temkin. "Early Life and Barcelona: 1890s–1919." Joaquín Torres-García Catalogue Raisonné. http://www.torresgarcia.com/chronology/index.php?name=Early%20Life%20and%20Barcelona (accessed May 27, 2017).
What is the Joaquín Torres-García Catalogue Raisonné ?  Return to to the homepage for more details

Register (new user):

 *
 *
   
 *
 *
* denotes required fields
Before any user of this website (hereinafter, the "User") may have access to this website, he or she (hereinafter, the pronoun "she" will be deemed to include both "he" and "she") must first acknowledge her understanding of, and agreement with, these Terms of Use, including the Privacy Policy set forth herein, by clicking on the "I agree" box below. [ View terms and conditions of use ]

Log in (returning user):

Forgot password?
Enter your current password above and your new password below.

Terms & Conditions of Use

Terms of Use for Joaquín Torres-García Catalogue Raisonné Website

The following Terms of Use shall apply to all use by the User of the Joaquín Torres-García Catalogue Raisonné Website (hereinafter, the “Website”):

1.  Commercial Use Strictly Prohibited:  The User hereby affirms her understanding of the Purpose of the Website and agrees that she shall not make any commercial use of the Website or its contents, including without limitation by linking the Website to any other website which itself engages in commercial use of the Website or its contents.

2.  Fair Uses Permitted:  The User is permitted to make limited scholarly, educational, non-profit and non-commercial fair uses of the Website as permitted under the fair use provision of the United States Copyright Law, 17 U.S.C. § 107, provided that the Website is credited (including its copyright notice) for any material used from it, and provided further that the User discloses the nature of such use to the operator of the Website in order to provide the operator with an opportunity to ensure that such use is in fact non-commercial and fair.  The operator of the Website reserves all of its rights and remedies in the event that a User’s use is deemed not to be a fair use or not to be a non-commercial use.    

3.  Compilation Copyright:  The Website overall is protected under U.S. Copyright Law as a compilation copyright with respect to its selection, coordination and arrangement.  The copyright in the compilation contained the Website is owned by its creator, compiler and operator, Cecilia De Torres, Ltd. (hereinafter, the “Operator”).  The Operator reserves all of its rights and remedies in the event that a User infringes upon its compilation copyright.  The User agrees not to remove any copyright notices contained on the Website and to display such copyright notices on any material downloaded from the Website. 

4.  Copyrights in Individual Works:  The copyrights in the individual paintings or other works of art contained on the Website may be owned by others, including the heirs of the Artist.  No permission is granted by any copyright owners to use the works by virtue of their inclusion on the Website or otherwise.  Any such permission must be sought by the User from the owners of the copyrights in the individual works.

5. DISCLAIMER OF WARRANTIES:  THE OPERATOR PROVIDES THIS WEBSITE ON AN “AS IS” BASIS.  YOUR USE OF THIS WEBSITE, ITS CONTENT, AND MATERIALS IS AT YOUR OWN RISK.  THE OPERATOR DISCLAIMS ALL WARRANTIES OF ANY KIND, WHETHER EXPRESS OR IMPLIED, INCLUDING BUT EXPRESSLY NOT LIMITED TO AUTHENTICITY, PROVENANCE, CONDITION, DESCRIPTION, AS WELL AS ANY WARRANTIES OF COPYRIGHT OWNERSHIP AND/OR NONINFRINGEMENT OF COPYRIGHTS OR ANY OTHER PROPRIETARY RIGHTS EITHER RELATING TO THE OPERATOR, THE HEIRS OF THE ARTIST, OR TO ANY THIRD PARTIES OR OTHERS.  THE OPERATOR DOES NOT WARRANT THAT THE SITE WILL PROVIDE CONTINUOUS, PROMPT, SECURE, OR ERROR-FREE SERVICE.  WHILE THE OPERATOR MAKES REASONABLE, ONGOING EFFORTS TO REVISE AND UPDATE THIS WEBSITE, THE OPERATOR ASSUMES NO LIABILITY WHATSOEVER FOR ANY ERRORS OR OMISSIONS INCLUDING, WITHOUT LIMITATION, THE INACCURACY OF CONTENT, OR FOR ANY DAMAGES OR LOSSES THAT YOU OR ANY THIRD PARTY MAY INCUR AS A RESULT OF THE UNAVAILABILITY OF THE SITE.  THE OPERATOR ASSUMES NO RESPONSIBILITY, AND SHALL NOT BE LIABLE FOR, ANY DAMAGES TO, OR VIRUSES THAT MAY AFFECT, YOUR COMPUTER EQUIPMENT OR OTHER PROPERTY ARISING FROM YOUR USE OF THIS WEBSITE, INCLUDING BUT NOT LIMITED TO THE REPRODUCTION OF ITS CONTENT OR MATERIALS.

6LIMITATION OF LIABILITY:  NEITHER THE OPERATOR NOR ITS  DIRECTORS, OFFICERS, EMPLOYEES, AGENTS OR AFFILIATES SHALL HAVE ANY LIABILITY FOR ANY DAMAGES, INCLUDING WITHOUT LIMITATION, ANY DIRECT, INDIRECT, INCIDENTAL, COMPENSATORY, PUNITIVE, SPECIAL, OR CONSEQUENTIAL DAMAGES (EVEN IF WE HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES) ARISING FROM OR RELATED TO YOUR USE OF THE WEBSITE, ITS CONTENT, AND/OR THE COMPILATION.

7.  Privacy Policy: The Operator is committed to protecting the privacy of the Website’s visitors.  Users are asked to register in order to gain access to certain features of the Website. Personally identifying information provided by Users (such as names, email addresses, passwords) is kept securely stored.  The Operator follows accepted industry standards to protect the information submitted to us, both during and after transmission.  Information provided is never sold, rented, or shared with third parties. The Operator reserves the right to revise this Privacy Policy at anytime.  Users are encouraged to periodically review the complete Terms of Use, including its Privacy Policy, to remain apprised of any changes.

8.  No Endorsement of Linked Sites:  A link between the Website and any other websites does not represent any endorsement by the Operator of linked websites or their content, purpose, policies or business practices.

9.  User’s Warranties and Representations:  By accessing the Website, the User warrants and represents that she shall abide by all of the terms and conditions of the Terms of Use and agrees to indemnify the Operator and its employees, officers, directors, successors, heirs and assigns from any and all claims arising from violations by the User of the Terms of Use.

10.  Venue and Choice of Law:  The Terms of Use and any modifications thereof shall be governed and construed in accordance with the laws of the State of New York without regard to principles of conflicts of laws.  Any dispute arising from use of the Website or with respect to its Terms of Use shall be heard exclusively by a state or federal court of competent jurisdiction located in New York County in the City of New York, State of New York.

11.  Terms of Use Are Subject to Change: The Operator may change these Terms of Use or any aspect of the Website at any time.  A User’s continued use of and access to the Website constitutes agreement to the Terms of Use as modified.  The Operator shall promptly post on the Website any modifications to the Terms of Use.  Users are responsible for periodically reviewing the complete Terms of Use to apprise themselves of any changes.

Effective May 5, 2015