グッゲンハイム美術館のインスタグラム(guggenheim) - 8月18日 07時48分

#WorkoftheWeek: After settling in Paris in 1926, Joaquín Torres-García turned his attention to Neoplasticism and adopted its frequent use of the golden section, a ratio applied to painting since the Renaissance to achieve aesthetically pleasing proportions.
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In “Constructive City with Universal Man” (pictured), Torres-García employed a grid as the painting’s principal compositional structure, filling the spaces with symbols and graphics culled from a variety of sources, including Egyptian, Greek, medieval, African, Aztec, Incan, and Oceanic art. He believed that given forms recurring throughout the history of art—albeit with different, often imprecise meanings—were concrete manifestations of some kind of omnipresent spirit, and believed in the existence of archetypal images that connected the individual to collective cultural traditions and universal truths.
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“Constructive City with Universal Man” (1942), © Sucesión Joaquín Torres-García, Montevideo
#JoaquínTorresGarcía #GuggenheimCollection #Guggenheim #MuseumFromHome

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