TORRES-GARCÍA (Joaquín).
The Tradition of the Abstract Man (Constructivist Doctrine)
Montevideo: Asociación de Arte Constructivo / Lacaño Hnos. Impresores, 1938. — In-8, 204 x 150: (40 ff.), illustrated cover. Paperback.

A very rare first edition of the manifesto of the constructivist doctrine, the first book by Uruguayan painter and art theorist Joaquín TORRES-GARCÍA (1874–1949).

For the author—as he explains in his preface—constructive art is indeed based on a doctrine born of artistic speculation; thus, it is inseparable from art, yet predates it and is legally distinct from it. This doctrine is for strictly internal use: it concerns only artists, not philosophers, aesthetes, poets, or musicians; and it is anything but childish or easy—it demands an assimilation that goes beyond mere intellectual acceptance. Torres-García then provides a five-point definition: art is Harmony; it unfolds on a geometric plane, rejecting whatever does not emanate from it; it is founded on Rhythm, a proportion based on number; its purpose is the law of Unity; and its fidelity to this principle binds the artist to a centuries-old Tradition—hence a genuine moral responsibility. Constructivism thus appears as a return to a Rule, whose very rigor opens the way to universality.

This edition reproduces the author’s manuscript, featuring numerous drawings within the text, as full-page illustrations, and on the cover. 

This copy is enhanced by a beautiful autograph letter signed by Torres-García, one page in-8, dated Madrid, September 25, 1933. Written in French, it is addressed to his friend Mendez, whom he thanks for his gesture. “Every day, my wife, my children, and I regret having left Paris. Well, such is life. Here I’m struggling to spark a little interest in art, but to no avail—the indifference (sic?) is total. ”
Also enclosed is a 3-1/4-page manuscript in 12mo format, offering a French translation of the beginning of Torres-García’s text.

The copy is very well preserved despite a minor, insignificant water stain on the bottom of the cover.
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Lot no. 172

TORRES-GARCÍA (Joaquín). The Tradition of the Abstract Man (Constructivist Doctrine) Montevideo: Asociación de Arte Constructivo / Lacaño Hnos. Impresores, 1938. — In-8, 204 x 150: (40 ff.), illustrated cover. Paperback. A very rare first edition of the manifesto of the constructivist doctrine, the first book by Uruguayan painter and art theorist Joaquín TORRES-GARCÍA (1874–1949). For the author—as he explains in his preface—constructive art is indeed based on a doctrine born of artistic speculation; thus, it is inseparable from art, yet predates it and is legally distinct from it. This doctrine is for strictly internal use: it concerns only artists, not philosophers, aesthetes, poets, or musicians; and it is anything but childish or easy—it demands an assimilation that goes beyond mere intellectual acceptance. Torres-García then provides a five-point definition: art is Harmony; it unfolds on a geometric plane, rejecting whatever does not emanate from it; it is founded on Rhythm, a proportion based on number; its purpose is the law of Unity; and its fidelity to this principle binds the artist to a centuries-old Tradition—hence a genuine moral responsibility. Constructivism thus appears as a return to a Rule, whose very rigor opens the way to universality. This edition reproduces the author’s manuscript, featuring numerous drawings within the text, as full-page illustrations, and on the cover. This copy is enhanced by a beautiful autograph letter signed by Torres-García, one page in-8, dated Madrid, September 25, 1933. Written in French, it is addressed to his friend Mendez, whom he thanks for his gesture. “Every day, my wife, my children, and I regret having left Paris. Well, such is life. Here I’m struggling to spark a little interest in art, but to no avail—the indifference (sic?) is total. ” Also enclosed is a 3-1/4-page manuscript in 12mo format, offering a French translation of the beginning of Torres-García’s text. The copy is very well preserved despite a minor, insignificant water stain on the bottom of the cover.

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TORRES-GARCÍA (Joaquín). The Tradition of the Abstract Man (Constructivist Doctrine) Montevideo: Asociación de Arte Constructivo / Lacaño Hnos. Impresores, 1938. — In-8, 204 x 150: (40 ff.), illustrated cover. Paperback. A very rare first edition of the manifesto of the constructivist doctrine, the first book by Uruguayan painter and art theorist Joaquín TORRES-GARCÍA (1874–1949). For the author—as he explains in his preface—constructive art is indeed based on a doctrine born of artistic speculation; thus, it is inseparable from art, yet predates it and is legally distinct from it. This doctrine is for strictly internal use: it concerns only artists, not philosophers, aesthetes, poets, or musicians; and it is anything but childish or easy—it demands an assimilation that goes beyond mere intellectual acceptance. Torres-García then provides a five-point definition: art is Harmony; it unfolds on a geometric plane, rejecting whatever does not emanate from it; it is founded on Rhythm, a proportion based on number; its purpose is the law of Unity; and its fidelity to this principle binds the artist to a centuries-old Tradition—hence a genuine moral responsibility. Constructivism thus appears as a return to a Rule, whose very rigor opens the way to universality. This edition reproduces the author’s manuscript, featuring numerous drawings within the text, as full-page illustrations, and on the cover. This copy is enhanced by a beautiful autograph letter signed by Torres-García, one page in-8, dated Madrid, September 25, 1933. Written in French, it is addressed to his friend Mendez, whom he thanks for his gesture. “Every day, my wife, my children, and I regret having left Paris. Well, such is life. Here I’m struggling to spark a little interest in art, but to no avail—the indifference (sic?) is total. ” Also enclosed is a 3-1/4-page manuscript in 12mo format, offering a French translation of the beginning of Torres-García’s text. The copy is very well preserved despite a minor, insignificant water stain on the bottom of the cover.
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