Chronology of events

    Abbreviations:

    UW: Universal Writing (named after J. Torres-Garcia).
    LT: Linear Themes (lines and double lines).
    RT: Religious Themes.
    AT: Alphabetic and Alphanumeric Themes (Inscriptions).
    TJ: Travel Journals.

    A 1939·1949

    Joaquin Torres-Garcia’s disciple 1941-1949.
    Resides in Córdoba (Argentine) 1945-1947.
    Manuel de Falla’s assistant in 1945 and 1946.
    Returns to Buenos Aires in the middle of 1947.
    Arrival to Paris at the end of November 1949, where the artist has been residing ever since.
    A 1 First drawings and paintings (1939-1941)
    A 2 Drawings and Paintings based on Shapes, Musicians, Heads, Still Lives, and etc.
    A 3 Drawings and Paintings in the style of J.T.G.: U.W; and compositions of cylinders, stones, etc.
    A 4 Preliminary studies for the murals in the Saint-Bois hospital (Montevideo). Two murals accomplished in 1944.
    A 5 Studies related to maritime zones: Ships, Ports, Cranes, Cafes, Pizzerias, Drinkers, etc.
    A 6 Linear themes: LT; invention of drawings in 13 double lines.
    A 7 Religious themes: RT; copies of old masters.
    A 8 Alphabetical themes: AT; manuscript books.
    A 9 Beginning of travel journals.

    B 1949·1951

    B 1 Resuming themes of Still-Lives, Musicians, Heads. Oils and Gouaches.
    B 2 Series and development of LTs: Dancers, Circuses, Women and Birds, Swimmers, etc.
    B 3 Series of TJs.
    B 4 Preliminary studies for Le Port 51.30: Carts, Horses, Dockers, Boats, etc.

    C 1951-1955

    C 1 Le Port 51.30 Painting in oil on canvas, 160 x 300 cm (February-March, 1951)
    C 2 RT: Beginning of a series of Saint-George and Jonas (H~51).
    C 3 Pause in oil painting and the beginning of (1951-1955): Tables, Chairs, Constellations, Columns, etc.
    C 4 Tainted Paper (1954-1955), linear and painted. «Ensembles» of the same paintings.
    C 5 Transition from tempera to oil (1955).
    C 6 Resumes oil painting (1955). Series of «Peintures Blanches». Side collection of four white paintings.
    C 7 Series of TJs.

    D 1956-1966

    D 1 Beginning of «Ateliers» (1956). Beginning of «Livres» (1960).
    D 2 Beginning of landscapes of Greece (1956) and Tunisia (1966).
    D 3 Studies for the monumental stained-glass artwork La Création du Monde (1956).

    D 4 Life-size model for La Création du Monde, 6 x 20 m (1957-1958).
    D 5 Accomplishment of the stained-glass window at the Master of stained glass J.J.K. Ray (Paris) and its installation in the Benedictine Monastery of Saint-Sacrement, Caen (1958).
    D 6 L’Atelier de l’artiste 58.77 Painting in oil on canvas, 200 x 300 cm (summer 1958).
    D 7 L’Atelier-hiver (triptych) 60.02 Painting in oil on canvas, 114 x 300 cm (January 1960).
    D 8 Studies for the monumental stained-glass window La Rédemption (1965-1966).
    D 9 Collection of five variations based on Le repas chez Simon by El Gréco (1966).
    D 10 Series of TJs.

    E 1967-1971

    E 1 Life-size model for La Rédemption, 4.50 x 17 m (1967-1969).
    E 2 Accomplishment of the stained-glass window at the Master of stained glass J.J.K. Ray (Paris) and its installation in the Dietrich Bonhoeffer Church, Hamburg (1969).
    E 3 Series of Black chalks (1970).
    E 4 Series of oil and gouache paintings.
    E 5 Definite evolution of the pictorial expression (with touches) from the end of the sixties.
    E 6 Series of TJs.

    F 1972-1982

    F 1 Featuring new themes: «Nus» and «l’Artiste dans son atelier» (1975).
    F 2 Le Peintre 78.29 Oil on canvas 195 x 265 cm (September 1978).
    F 3 Studies and life-size models for Les Prophètes, five flamboyant windows of 1430, 4.50 m high (1978 and the following years).
    F 4 Accomplishment of five windows at the Master of stained glass Michel Eltsqhinger (Fribourg, Switzerland) and their installation in the Northern aisle of the collegiate church of N.-D. de l’Assomption de Romont, Fribourg

    G 198~-2002

    G 1 Five murals and one mobile sculpture for the head office of the company Elf-Atochem (nowadays Arkema) at Paris la Défense (1987-1988).
    G 2 Series of dry inks from 1990. Return to painting in planes and lines.
    G 3 «14 Estampes» Jacomet technique.
    Daniel Jacomet Editeur d’Art (Paris 1992).
    G 4 Artefact, a metal object of 4.50 m diagonally, for a new reception hall of Elf-Atochem at Paris La Défense (1997).
    G 5 Series and development of graphic painting.

    H 2003 –

    Almost exclusive work in Dry Inks (some gouaches)
    Series of A4 format artworks, most of them in Dry Inks (light resistant)