Joaquin Torres Garcia
Joaquín Torres García (1874–1949) was a Uruguayan painter, sculptor, and theorist, regarded as one of Latin America’s most important modern artists. He developed a unique style known as Constructive Universalism, blending geometric abstraction with symbols inspired by pre-Columbian art, ancient cultures, and modernist principles. His works often feature grid-like structures filled with simplified pictograms representing humanity, nature, and spirituality. Torres García played a key role in introducing avant-garde movements to South America, while his art sought to unite universal harmony with Latin American identity.
Year: 1943
Title:Montevideo
Artist: Joaquín Torres-García (1874–1949)
Medium: Oil on board
Dimensions: 52 × 65 cm
Description:
Composition by Joaquín Torres-García rendering the city of Montevideo through a symbolic and constructivist lens. Geometric forms—houses, trains, arrows, clocks, and abstracted figures—are arranged in a structured grid, evoking both urban dynamism and spiritual balance. The palette of primary colors (red, blue, yellow) paired with black and white reflects his characteristic visual language.
A leading figure in Latin American modernism, Torres-García sought to merge European avant-garde principles with indigenous and universal symbolism. His philosophy of Constructive Universalism aimed to connect ancient traditions with modern abstraction. Painted upon his return to Uruguay, this piece is a visual testament to his cultural synthesis—placing Montevideo at the crossroads of memory, identity, and modern thought.
Armando Morales (1927–2011)
Oil on canvas
Dimensions: 35 × 28 cm
Composition by Nicaraguan painter Armando Morales depicting three nude figures gathered at the edge of a cascading waterfall, immersed in a timeless ritual of bathing. Executed in his characteristic painterly style, Morales layers earthy and muted green-blue tones, capturing both the sensuality of the human form and the raw vitality of nature.
Morales, renowned for his fusion of figuration and abstraction, frequently revisited themes of memory, myth, and sensuality. In this work, the tactile impasto brushwork conveys both movement and intimacy, as the figures appear simultaneously rooted in their environment and dreamlike in presence. The interplay between shadow and light accentuates the mystery of the scene, suggesting a timeless moment of communion between humanity and nature.
Artist: Armando Morales (Nicaraguan, 1927–2011)
Date: 1993
Medium: Oil on canvas
Signature: Signed and dated lower right, Morales / 93
Dimensions: 29 × 37 cm
Oil on canvas from 1993, Armando Morales presents three nude female figures set within a monumental architectural setting that opens onto a distant seascape. Painted in a restrained, cool-toned palette dominated by muted blues, greens, and greys, the figures emerge with sculptural solidity, their contours modeled with both softness and precision. One central figure holds a striking red staff, a vivid vertical accent that disrupts the otherwise harmonious tonal composition..
Artistic Context:
Armando Morales is celebrated as one of Latin America’s foremost modern painters, renowned for merging realist figuration with surrealist and symbolic elements. His paintings often combine nudes, still lifes, and landscapes in enigmatic, timeless environments. This work exemplifies Morales’s mature style of the late 1970s, in which the human form is reimagined within architecturally inspired, almost stage-like settings that invite multiple readings—mythological, allegorical, or psychological.
SOL LEWITT Original gouache painting. Dated and Signed top right.
Title:Untitled (Brushstrokes)
Artist: Sol LeWitt (American, 1928–2007)
Date: 1992
Medium: Watercolor on paper
Dimensions: 32 × 24 cm
Collection: Private Collection
Description:
Watercolor by Sol LeWitt featuring four broad, gestural strokes in red, black, blue, and ochre. Departing from his well-known systematic and geometric compositions, this work reveals a more spontaneous and tactile side of the artist’s practice.
Though best known for his conceptual and minimal works, LeWitt also produced a significant body of watercolors later in his career. These pieces explore color, form, and movement in a freer, more organic manner, showcasing the artist’s ongoing curiosity about the possibilities of visual language.
PHILIPPE BOSIO. Oil painting.
Title:L’Opiomane au Soleil
Artist: Philippe Bosio (French, b. 20th c.)
Medium: Oil on Canvas
Dimensions: 52×63 cm
Description:
French artist Philippe Bosio presents a surrealist tableau of a man in the throes of an opium-induced reverie. The composition centers on a semi-reclined figure, whose fragmented form is composed of radiating cylinders and mechanical motifs, suggesting both euphoria and disintegration. This psychedelic abstraction imbues the subject with a hallucinatory aura, reflecting the inner landscape of altered consciousness.
Bosio’s bold palette—rich in primary reds, blues, and yellows—intensifies the psychological charge of the work, while the crisp outlines and flattened perspective lend it a modernist clarity. This painting evokes themes of escapism, solitude, and the seductive peril of narcotic indulgence.
This work exemplifies Philippe Bosio’s distinctive fusion of figurative surrealism with social commentary. Through abstraction and symbolic distortion, L’Opiomane au Soleil probes the complex relationship between intoxication and identity, inviting the viewer into a meditative space where perception is both heightened and obscured.
BOZE Oil painting.
Title:Opium Smoker
Artist: BOZE (French, 20th century)
Medium: Acrylic on canvas
Dimensions: 39 × 50 cm
Description:
Original painting by BOZE depicting a reclining man smoking opium. The figure is stylized with mechanical and abstract forms, combining human anatomy with components reminiscent of gears, levers, and tubes. Rendered in warm reds, oranges, and blues against a soft yellow background, the scene evokes both dreamlike detachment and physical ritual.
Boze’s work reinterprets traditional opium-smoking imagery through a surreal and modern lens. The composition reflects the introspective and isolating nature of the opium experience, while the mechanical details suggest the ritual’s repetition and systemic place in society.
HUGO CASTRO Original Acrylic Painting. Signed bottom left
Artist: Hugo Castro (Mexican, 20th–21st century)
Medium: Acrylic on canvas
Dimensions: 50 × 70 cm
Description:
Underwater scene, Hugo Castro is depicting a fantastical journey through the deep sea. Two human figures, dressed in modern and playful attire, ride large mechanical fish with expressive, cartoon-like faces. A child follows behind, seemingly tethered to the group and riding a small bicycle
Blending fantasy, satire, and a touch of science fiction, Castro’s work reflects on themes of escapism, environmental imagination, and childlike wonder. The fluid motion of the composition and the vibrant palette create a sense of weightlessness and absurd adventure. The juxtaposition of human and mechanical-animal forms challenges traditional boundaries between nature, machine, and human experience.
RAIMUNDO MADRAZO. Original Oil painting. Signed top left
Artist: Raimundo de Madrazo y Garreta (1841–1920)
Date: Late 19th century
Medium: Oil on canvas
Dimensions: 32 × 21 cm
Museum Description:
Painting by Raimundo Madrazo showing a scene with two women and one man dressed in 18th-century clothing. One woman is wearing a dark gown and a mask, while the man, dressed in a green coat.
Madrazo was known for painting elegant and romantic scenes. This artwork captures a moment with great attention to costume and detail.
Raimundo Madrazo was known for his depictions of refined interiors and courtly figures. His work often draws on themes of flirtation, gallantry, and historical nostalgia, making this painting a quintessential example of his richly romantic style.
MARIANO FORTUNY. Oil painting. Signed bottom left
Artist: Mariano Fortuny y Marsal (1838–1874)
Date: c. 1860s
Medium: Oil on canvas
Dimensions: 17 × 31 cm
Museum Description:
Mariano Fortuny captures a quiet riverside scene with several figures in traditional clothing. The background features a broad landscape and distant hills under a soft blue sky, while the foreground shows figures walking or gathering near the water and ruins.
Fortuny was known for his detailed brushwork and vivid use of light. This painting combines everyday life with architectural remnants.
ANTONI TAPIES - Original Painting Untitled
Title:Untitled
Artist: Antoni Tàpies (1923–2012)
Medium: Mixed media on paper
Dimensions: 40 × 30 cm
Description:
Composition by Antoni Tàpies combining gestural brushstrokes, abstract symbolism, and raw texture to evoke a sense of emotional tension and philosophical depth. Dominated by black and red pigments, the piece features layered forms suggestive of barricades or scratched surfaces, with cross-like marks floating in space.
A leading figure in postwar European abstraction, Antoni Tàpies fused material experimentation with deep metaphysical concerns. His work often challenges the boundary between painting and object, using humble media to express inner and social conflict. This piece exemplifies his mature style, balancing chaos with control, and abstraction with symbolic charge.
ANTONI TAPIES - Original Painting Untitled
Title:Untitled
Artist: Antoni Tàpies (1923–2012)
Medium: Mixed media on paper
Dimensions: 40 × 30 cm
Description:
Artwork by Antoni Tàpies, layers of earthy reds, greens, blacks, and ochres collide and blend across the paper in a dense field of marks and textures. Bold gestural strokes and scratched-in symbols—most notably recurring X and cross motifs—create a chaotic, raw surface that invites introspection.
Antoni Tàpies, a pivotal figure in the postwar European avant-garde, developed a unique approach that fused abstract expressionism with a material-focused sensibility. His works often confront the viewer with physicality and spiritual tension.
Painting on paper by Lucio Fontana, Concetto Spaziale
Title:Concetto Spaziale (Spatial Concept)
Artist: Lucio Fontana (1899–1968)
Medium: Mixed media on paper
Dimensions: 23 × 16 cm
Description:
Artwork by Lucio Fontana featuring a dense interplay of white, black, and red pigments applied with energetic gestures over a layered surface. At the center, a cluster of vibrant red forms pulses within an intricate web of strokes and lines, evoking spatial tension and organic energy. The handwritten inscription "Concetto Spaziale" above the composition anchors the work in Fontana’s broader artistic pursuit of transcending traditional two-dimensional art.
As the founder of Spatialism, Lucio Fontana sought to integrate space, movement, and materiality into a new visual language. This painting is a vivid testament to that vision, merging abstract form and visceral texture to create a sense of depth and rupture.
Artist: BOZE
Date: Unknown
Medium: Oil on canvas
Signature: Not Visible
Dimensions: 29 × 37 cm
This portrait depicts a dog rendered with human posture and expression, dressed in a green beret marked by a red star and a red jacket. The work playfully merges animal imagery with revolutionary iconography, creating a figure that is at once humorous, and quietly unsettling. Rich, warm tones define the face, while energetic splatters of paint animate the background, adding movement and contemporary edge.
Artistic Context:
BOZE is known for creating expressive, figurative paintings that blend humor, symbolism, and social commentary. Working primarily in oil on canvas, the artist often uses animals as stand-ins for human characters, allowing complex political or emotional ideas to be explored with irony and warmth. BOZE’s style combines strong draftsmanship with painterly textures and contemporary pop references, resulting in works that are immediately approachable yet layered in meaning.