Cecilia de Torres, Ltd.

The White Ship, c.1950, Oil on canvas, 32¼ x 27¼ in. 82 x 69 cm.

Perspective, 1947, Oil on canvas, 27¾ x 31½ in. 70,5 x 80 cm.

Perspective Harbor, c.1947, Oil on canvas, 23¾ x 32¾ in. 60 x 83 cm.

Barraca, c.1949, Oil on artist board, 13 x 21 in. 33 x 53 cm.

Estudio para naturaleza muerta, 1949, Oil on canvas, 13½ x 17½ in. 34 x 44 cm.

Estudio para naturaleza muerta, 1949, Oil on canvas, 25½ x 29½ in. 65 x 85 cm.

Naturaleza muerta en siete colores, 1957, Oil on canvas, 30¼ x 43½ in. 77 x 110,5 cm.

Ventana con flores, n.d., Oil on artist board, 27¾ x 23 in. 70 x 58 cm.

Ventana abierta sobre el puerto de Montevideo, 1947, Oil on canvas, 28 x 34 in. 71 x 86 cm.

Tintero, c.1952, Oil on artist board, 19¼ x 15½ in. 49 x 39 cm.

Iron Gates, 1960, Wrought iron, 53½ × 26⅜ in. 136 × 67 cm

Metaphysical, 1950, Oil on artist board, 17 x 14 in. 43,1 x 35,5 cm.

Forms Within a Structure, 1957, Oil on burlap, 47 x 40½ in. 119 x 104 cm.

Idol, 1939, Pink granite, 20 x 12 in. 51 x 30,5 cm.

Pillow and Sheets, c.1974, Oil on canvas, 28 x 37¼ in. 71 x 95 cm.

Pillow and Sheets, 1972, Oil on canvas, 31 x 38 in. 71 x 96,5 cm.

Seated nude on yellow tapestry, 1975, Oil on canvas, 62 x 50 in. 158 x 127 cm.

Seated Nude on Green, 1974, Oil on canvas, 64 x 74 in. 163 x 188 cm.

Three figures, 1975, Oil on canvas, 70 x 95½ in. 177,8 x 230 cm.

Photograph of Horacio Torres by Alfredo Testoni, 1965

In Horacio Torres' studio, Montevideo, 1965, From left to right: Manuel Pailos, Augusto Torres, Horacio Torres, Francisco Matto

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.