Las familias Torres y Daura vivían en el mismo complejo de apartamentos en el famoso distrito de Montmartre, conocido por su vida vibrante de estudios, salones artísticos y cafés. La relación de Louise con Pierre y la próspera escena cultural en que vivían la animó a abrazar sus aspiraciones artísticas. Participaba en varias exhibiciones y pro- ducía pinturas para numerosos mecenas. Se destacó especialmente en los retratos, que le gustaba hacer “más que los bodegones”. 1 Siguiendo una práctica común para artistas, Louise y Pierre represen- taron miembros de su círculo inmediato. Louise hizo retratos de la esposa de Torres, Manolita Piña, así como de sus hijos: Olimpia, Ifigenia, Augusto y Horacio. Pierre estaba presente en esas sesiones de pintura, y hacía retratos de la familia Torres como grabados vistos desde ángulos diferentes que en las imágenes de Louise. Dibujaba directamente sobre la plancha de zinc con una punta de metal, sin crear dibujos preliminares, lo que habla de su confi - anza en esta técnica. Las líneas son apenas visibles sobre las planchas, pero el resultado sobre el papel es rico y cautivador. Pierre había estudiado breve- mente grabado con el artista y editor André Lambert (1884–1967), y era dueño de una imprenta, lo que le dio la libertad de experimentar.
The Torres and Daura families lived in the same apartment complex in the famed Montmartre dis- trict, known for its vibrant life of studios, salons, and cafés. Louise’s relationship with Pierre and the thriving cultural scene in which they lived encour- aged her to embrace her artistic aspirations. She participated in several exhibitions and produced paintings for numerous patrons. She especially excelled at portraits, which she liked doing “better than still lifes.” 1 Following a common practice for artists, Louise and Pierre depicted members of their immediate circle. Louise made portraits of Torres’s wife, Manolita Piña, as well as of their daughters and sons: Olimpia, Ifigenia, Augusto, and Horacio. Pierre sat in on those painting sessions and cre- ated portraits of the Torres family as prints, seen from different angles than Louise’s images of them. He drew directly on the zinc plate with a metal point, without making preliminary drawings, which speaks to his confidence in this technique. The lines are barely visible on the plates, but the result on paper is rich and compelling. Pierre had briefly studied printmaking with artist and editor André Lambert (1884–1967) and owned a press, which gave him freedom to experiment.
facing page:
All by Pierre Daura (1896–1976) and all Georgia Museum of Art, University of Georgia; Gift of Martha Randolph Daura.
(top left) Ifigenia Torres (Half-length) , 1929. Zinc engraving plate, 18 × 13 centimeters (7 1/8 × 5 1/8 inches). GMOA 2003.773.
(top right) Ifigenia Torres (Half-length) , 1929. Drypoint, 32.4 × 25.1 centimeters (12 3/4 × 9 7/8 inches) (sheet). GMOA 2003.775.
(left) Pierre Daura (1896–1976), Olimpia Torres (Head) , 1929. Drypoint, 32.4 × 25.4 centimeters (12 3/4 × 10 inches). Georgia Museum of Art, University of Georgia; Gift of Martha Randolph Daura. GMOA 2003.768. (right) Pierre Daura (1896–1976), Olimpia Torres (Half-length) , 1929. Drypoint, 32.2 × 24.8 centimeters (12 5/8 × 9 3/4 inches). Georgia Museum of Art, University of Georgia; Gift of Martha Randolph Daura. GMOA 2003.770.
(bottom left) Ifigenia Torres (Head) , 1929. Zinc engraving plate, 18 × 13 centimeters (7 1/8 × 5 1/8 inches). GMOA 2003.776.
(bottom right) Ifigenia Torres (Head) , 1929. Drypoint, 25.2 × 17.9 centimeters (9 7/8 × 7 inches) (sheet). GMOA 2003.777.
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