[1] He took the principles of Constructivism that Russian artists had developed in the 1920s and had influenced De Stijl and Bauhaus movements, and integrated what he considered to be universal pictographs, such as those for sun, moon, man, and woman.

[1] When Torres-García started Taller Torres Garcia in 1944, many of the participants incorporated Universal Constructivism into their own work.

[2] Joaquin Torres-Garcia was a determined Uruguayan artist who hoped to constitute a new world with a new set of ritual practices as a way of reconstituting the least imagined, fantasized- ancient, pre-modern integration of life and art through the principles of geometry and proportionality.

Torres-Garcia developed a unique creation to use Modern art to proclaim the spiritual Humanism expressed in Universal images rather than realistic description.

[4] In order to portray his unique style, Torres-Garcia had many steps of influences to reach him to the highest point of Universal Constructivism.

[4] Later, he was influenced by the geometric modernist style, which emerged from Parisian Cubism and the ideas of Italian Futurism.

Torres-Garcia used this style by portraying the depiction of modern life with the use of simple forms, strong colors, contrasts, and views of multiple subjects.

Torres-Garcia developed a system of symbols that have similarities to both hieroglyphics and children's drawings in order to suggest authenticity.

By creating symbols with universal meaning, his system intended to provide the experience of order, harmony, and unity.

He utilized a ruler and compass and began his art on a small format first which developed the proportions to transform it into a bigger artwork.

Another is the train or ship which displays the idea of exploration and discovery which is related to the travels of Torres-Garcia to America from Europe.

The involvement of symbols give the horizontal and vertical lines a balance with harmony that includes earth-like elements.

[4] Taller Torres Garcia was established in 1943, approximately four years after the closing of Asociacion de Arte Constructivo.

This school was a place for young artists to strive for the combination of applied arts that also connects to an ideal environment of utopian harmony.

This allowed young minds to create paintings, sculptures, ceramics, stained glass, mosaics, metalwork, and furniture.

However, he strongly felt that he could manage teaching without official support, for he was surrounded by young determined artists which was enough for him to continue.

An accomplishment he reaches is the progress of active stimulating society that shows creativity as its social norm.

Students are mutual, meaning, they all hold lots of knowledge about art and this causes Torres-Garcia to believe that he has made a school that unifies.

In this specific artwork, Torres-Garcia intertwines Pre-Columbian elements, for he respected ancient artistry and cultural differences.

He displays subjects such as elements of Pre-Colombia, freemasonry symbolism, objects relating to contemporary life, and incorporates guidelines.

For example, one of his creations comes from antiquity which is the architectural structures; presented in the painting is the aqueduct and triumphal arch in the center.

Also, on the lower right of the canvas he writes AAC to identify his membership in Asociacion de Arte Constructivo, for he has founded the group.

Because Torres-Garcia painted on paper and then mounted it on a wooden canvas, he draws viewers attention to the surface and has them realize that he has created an interlinked stonewall.