Cecilia de Torres, Ltd. is pleased to present the first of two exhibitions celebrating the trajectory of Horacio Torres’ oeuvre (b. Italy, 1924 – d. New York, 1976).
The youngest son of seminal Uruguayan Constructivist, Joaquín Torres-García (b. 1874 – d. 1949), Horacio Torres was exposed to art at an early age. Having studied painting and drawing at home, Torres’ painted works emanated from a platform of Constructivism and Geometric Abstraction.
This first gallery exhibition entitled Horacio Torres: Early Works emphasizes the diversity of subject matters and techniques from Torres’ artistic upbringing, ranging from metaphysical landscapes and still lifes to geometrically abstract and constructivist grids.
In 1970, Horacio Torres settled in New York, and it was then that he made the aesthetic leap into the contemporary art world populated by Abstract Expressionist painters. Under the wing of the modernist art critic Clement Greenberg (whom Torres had met when Greenberg visited Montevideo in 1968), Torres chose to focus on figurative painting. His father’s teachings always emphasized the aim of achieving a plastic structure regardless of whether the painted work was figurative or not. This notion translated flawlessly into Horacio Torres’ nude figures, which will be on view in the gallery’s second exhibition, Horacio Torres: Nudes.
An illustrated catalogue with a lead essay by Karen Wilkin is in preparation for release in February, 2017.
Horacio Torres: Early Works will be on view September 20 to November 5, 2016.
Horacio Torres: Nudes will be on view February 16 to May 27, 2017.
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b. 1924 Livorno, Italy - d. 1976 New York City
Of the many painters who studied with his father, the great Constructivist artist Joaquín Torres-García, Horacio Torres made the quantum leap into the Contemporary art world of abstract and expressionistic painters in New York's 1970s. That he did so with figurative canvases was a singular achievement. Taken under the wing of the critic Clement Greenberg, who understood that Horacio's work was really about painting and was thoroughly modern, Horacio explored the thunderous territory of Titian, Velasquez and late Goya with a unique background of skill and aesthetic education in a contemporary way. Thus the series of headless nudes and of figures with faces obscured, make clear his painterly intentions and concerns. His monumental canvases are wondrous exercises of painted imagination formed with the structure of the depicted figure, but they are not about nudes, they are about painting.
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