Sarandy Cabrera (1923−2005), was a member of the Taller Torres García (the Torres García workshop, TTG), as well as a journalist and a poet. She considered the master artist as a classic artist in the strictest sense of the term who worked and created in the twentieth century. And he did so in opposition to the inconstant surrealistic dream as well as to the transcendent rationalism of geometric abstraction. He was “a classic” against all forms of romanticism, even though, throughout his life, Joaquín Torres García declared that he would feel at times fluctuated between a classical drive and a romantic drive. Comparing him with Mondrian’s neo-plasticity and to posterior geometric purism, Cabrera felt that the art of Joaquín Torres García was “imperfectly human.” In this sense, he would be a critic of “modern art.” For the journalist, the master artist was “a chosen prophet, a bearer of truth and of divine profession.” No attention was paid to the honed prose by Cabrera nor the high esteem that was owed to the master artist, as she was, along with Guido Castillo, the editors in charge of the magazine Removedor, the newspaper of the TTG and the principal trench of polemics held by the opponents throughout the 1940s.
[Please refer to the ICAA digital archive for the following additional texts written by Joaquín Torres García: “Con respecto a una futura creación literaria” (doc. no. 730292), “Lección 132. El hombre americano y el arte de América” (doc. no. 832022), “Mi opinión sobre la exposición de artistas norteamericanos: contribución” (doc. no. 833512), “Nuestro problema de arte en América: lección VI del ciclo de conferencias dictado en la Facultad de Humanidades y Ciencias de Montevideo” (doc. no. 731106), “Introducción [en] Universalismo Constructivo” (doc. no. 1242032), “Sentido de lo moderno [en Universalismo Constructivo]” (doc. no. 1242015), “Bases y fundamentos del arte constructivo” (doc. no. 1242058) and “Manifiesto 2, Constructivo 100%” (doc. no. 1250878)].
