Where to See Ángeles Santos Torroella

Ángeles Santos Torroella's work can be viewed in several museums. These include the Museu d’Art Modern (MNAC) in Barcelona, located in Parc de la Ciutadella; the Museo Art Nouveau y Art Deco in Salamanca, at Calle Gibraltar 14; and the Museu Calouste Gulbenkian in Lisbon, found at Av. de Berna 45A. Other museums that may hold her work are the Los Angeles County Museum of Art (LACMA), the Metropolitan Museum of Art in New York, and the Minneapolis Institute of Arts. You may also find her pieces at the Museum of Modern Art in New York, the Royal Ontario Museum in Toronto, and the Virginia Museum of Fine Arts in Richmond. Additionally, the Wolfsonian at Florida International University in Miami Beach, and several UK museums, such as the Brighton Museum & Art Gallery, Manchester Art Gallery, and the Victoria & Albert Museum in London, might hold examples of her art.

Ángeles Santos Torroella was a Spanish^[1] surrealist painter. Her prints, like those of other artists, can be divided into original prints, reproductions, and giclée prints. Original prints are produced by hand using techniques such as woodcut, engraving, or etching. The artist creates the artwork directly, making each print an original. These are often sold in specialist galleries. Offset reproductions, also known as posters, are created using photochemical processes. Giclée prints are fine art prints made using inkjet technology. Canvas transfers involve transferring the image onto canvas, giving it the appearance of a painting. When buying prints, it is important to understand the distinction between an original print and a reproduction. An original print is conceived and executed by the artist as a print, often in a numbered edition, and signed. Each print is individually inked and pulled. A reproduction is a copy of a work originally created in another medium, such as painting or watercolour, and is typically made using photomechanical means. Numbering and signing a reproduction does not make it an original print.

Ángeles Santos Torroella (born 1911^[1]) was a Catalan surrealist painter. Her works are important as examples of avant-garde art produced in Spain during the early twentieth century. During this period, Spanish^[1] artists engaged with international movements such as Futurism. The literary posters of Ernesto Giménez Caballero (Gecé), for example, combined collage, painting, drawing, and writing, and were influenced by Italian Futurist "words-in-freedom" experiments. These posters often referenced contemporary poets and artists, such as Guillermo de Torre and Norah Borges, creating a dialogue between visual and literary culture. Santos Torroella's paintings reflect a similar spirit of innovation and cross-disciplinary exchange. Her surrealist imagery and exploration of the subconscious connect her to a broader European artistic context, while her identity as a female artist places her work within discussions of gender and representation in the avant-garde.

Ángeles Santos Torroella was a painter, and her early works show an interest in surrealism and symbolism. She is known to have worked in oil paint on canvas, creating large-scale compositions. Santos's painting *A World* (1929^[1]) is a good example of her early style; it is a large canvas filled with figures and symbolic imagery. The painting demonstrates her skill in handling oil paint to create a dreamlike atmosphere. Her use of colour and form creates a sense of depth and space, drawing the viewer into the scene. Later in her career, Santos moved away from surrealism and developed a more realistic style. She continued to work in oil paint, but her subject matter became more focused on portraits, still lifes, and depictions of the world around her.

It is difficult to identify specific artists who directly emulated Ángeles Santos Torroella's style. The art world has become increasingly pluralistic since the heyday of movements such as Cubism. It is now nearly impossible for one artist to dominate a significant group. However, the institutional legacy of major artists continues through museums, books, and exhibits. Many artists study and revisit the work of earlier masters. For example, the Nicaraguan painter Armando Morales (a winner of the Ernst Wolf Prize as Best Latin American Artist at the V Sao Paulo Bienal in Brazil, 1959^[1]) used Robert Motherwell’s "Spanish^[1] Elegy" series as raw material for his own art. Similarly, Jackson Pollock knew the work of David Siqueiros. Artists may not become direct imitators, but they often fall under the shadow of larger-than-life figures.

Finding specific influences on Ángeles Santos Torroella is difficult with the passages provided. However, some passages discuss influences on other artists, which may provide a general sense of the artistic milieu of the time. One passage mentions that some teachers in Caracas, Venezuela, introduced their students to Cubism through reproductions in magazines. Although the teachers themselves may not have fully grasped Cubism, they still encouraged their students to explore the unknown in art, which the author appreciated. The author was impressed by a Cubist still life by Braque and subsequently studied Cubism and Picasso. Cézanne and van Gogh also became important to him. He was briefly drawn to Gauguin's colour but was later disappointed when he saw Gauguin's original works in Paris. Another passage mentions that Mondrian, Malevich, Klee, and Albers were important to the author. He sought to add dynamism to Mondrian's works but realised Mondrian had already addressed that issue in Broadway Boogie-Woogie. He also admired Moholy-Nagy, Calder, Marcel Duchamp, and Gabo and aimed to build upon their ideas.

Ángeles Santos Torroella is best known for *Un mundo*, also called *La Tertulia* (1929^[1]). Painted when she was only 18, the large-scale canvas (measuring 2.95 x 2.98 metres) depicts a group of women without specific identity in a flat, undetailed space. The figures, with their doll-like faces and static poses, evoke a dreamlike or surreal quality. The muted colour palette adds to the painting's unsettling atmosphere. *Un mundo* was exhibited in Madrid in 1930 and caused a sensation, establishing Santos as a leading figure in the Spanish^[1] avant-garde. Despite her youth, critics recognised her unique vision and technical skill. The painting is now part of the Museo Nacional Centro de Arte Reina Sofía collection in Madrid. It remains one of the most important examples of Surrealism^[1] made in Spain.

Ángeles Santos Torroella is often associated with Surrealism^[1], although her relationship to the movement is complex. Spanish^[1] artists of the period engaged with Surrealist ideas in various ways, often resisting direct alignment with André Breton's orthodox version. Santos, along with figures such as Maruja Mallo, participated in the broader European exploration of the subconscious and irrational. Mallo's work, for example, incorporated dreamlike imagery and challenged conventional perspectives, aligning with Surrealist objectives. These artists often combined Surrealist techniques with local artistic traditions, creating a distinct Spanish flavour within the international movement. Santos moved away from Surrealist tendencies later in her career. By the 1980s, she reflected on her earlier work, acknowledging its connection to Surrealism. The political climate of Spain in the 1930s also influenced artists' engagement with the movement, with some embracing its potential for social critique.