Michela Rosso

Pablo Picasso through the eyes of Joaquín Torres-García

Friday April 28 – Session 06 @ COAC


Up to the present day, the relationship between Picasso and Joaquín Torres-García (Montevideo, 1874-1949) has not been subject to an in-depth analysis. The few references to the contacts between the two artists which appear in some studies are usually mainly based on the autobiographical account that Torres García published in 1939, after a long period of wanderings which took him from his birthplace Montevideo to Catalonia, his father’s country of origin, and then in New York, Fiesole, Villefranche-sur-Mer, Paris and Madrid, returning finally to Uruguay in 1934.

In his autobiography, Torres-García mentions his first contact with the young Picasso in the cultural setting of turn-of-the-century Barcelona, and also his later – failed – attempt (in 1920, just before he moved to New York) to get the painter from Malaga to intercede to help him find his way into the Paris art market. As Torres-García himself admitted, this latter event would substantially mark his subsequent relationship with Picasso.

However, the sources we consulted for carrying out our doctoral thesis, entitled Joaquín Torres-García and Constructive Universalism: the fundamental meaning of art, led to our realisation that Torres García was building a “split image” of Picasso, establishing a clear differentiation between his worth as “a man” and his merit as “a painter”.

The presentation we are putting forward delves into the relationship between Picasso and Torres-García, into how the relationship evolved over time and in space, at both the personal and the artistic levels.

Among the issues we hope to cover, we are aiming to explore the subject of Torres-García’s recognition of the plastic works by Picasso by analysing several written sources which specialists have quite often ignored. Some of these sources enable us to demonstrate, for example, that on several occasions, the Uruguayan acknowledged the extraordinary artistic qualities of the painter from Malaga, as well as his fundamental contribution to the development of modern art.

We also aim to set up a dialogue between the plastic works of Picasso and Torres-García, and propose a comparison which is based on a selection of works by the two artists from various times in their creative careers, in order to highlight any connections there may be.


Michela Rosso

Associate Professor, Universitat de Barcelona

Degree in “Conservazione dei Beni culturali” from the Universitá degli Studi di Udine, Italy. With a scholarship from the Ministry of Education and Science, she obtained a Diploma in Advanced Studies in the PhD course “History, Theory and Art Critics” from the Department of History of the University of Barcelona. Her thesis project, led by Dr. Lourdes Cirlot, was entitled “Joaquín Torres-García and Constructive Universalism: the primordial sense of art”. She is currently associate professor of the Department of Art History of the University of Barcelona, and she gives termly courses about Picasso organised by the Museu Picasso of Barcelona in collaboration with the University of Barcelona.



Organized by:

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Museu Picasso Barcelona
Montcada 15. 08003 Barcelona

www.museupicasso.bcn.cat


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Fundació Palau. Centre d’Art
Carrer la Riera 54. 08393
Caldes d’Estrac Barcelona

www.fundaciopalau.cat


The Museu Picasso Barcelona would like to recognise the extraordinary commitment and support of:

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With the collaboration of:

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