Daymán Antúnez

Daymán Antúnez was born on 20 November 1917 in Cerro Largo, Uruguay. According to the fullest available biographical account, he first studied drawing in Melo before entering the workshop of Joaquín Torres García in Montevideo, where he became a direct disciple. Within that circle he was part of the group of artists involved in the murals at the Hospital Saint Bois, one of the Taller Torres García's notable collective projects. Over his career he worked toward a personal geometric idiom within the workshop's broader program of "universalismo constructivo," a strand of work later described by Uruguayan commentators as his "constructivismo disociado."

Public sources agree that Antúnez died in 1992, but none of the sources reviewed give an exact death date or place. In 2017, on the hundredth anniversary of his birth, the Museo Mazzoni in Maldonado, Uruguay staged a centenary retrospective of his work, including drawings, portraits, landscapes, and examples of his geometric constructivist paintings, along with a replica of one of his large interior murals. Uruguayan cultural officials involved in that retrospective described murals by Antúnez as present in public buildings across many departments of the country.

Independent critical writing on Daymán Antúnez in major outlets is scarce in the sources available. What survives is largely descriptive and biographical, situating him inside the Taller Torres García and its program of constructive universalism, and crediting him with developing his own geometric, symbolic language within that framework. No verbatim critical assessment from a named critic in a major outlet could be located and reproduced with confidence, so none is quoted here.

Daymán Antúnez has an artist page on Artprice, and his artworks are listed for sale on platforms such as Artsy and MutualArt, but no current gallery or estate representative could be confirmed in the sources reviewed. No verified public auction sale for the artist, complete with work, price, house, and date, could be confirmed as of 2026-07-18. His market activity therefore appears to run mainly through Uruguayan institutional channels and international art-market listing platforms rather than through a documented gallery relationship or auction record.

Antúnez's public record is documented mainly through Uruguayan institutional sources and brief entries on international art-market platforms, rather than through a catalogue raisonne or a substantial auction history. His name also appears in slightly different forms across sources, including "Day Man Antúnez" and the unaccented "Dayman Antunez" or "Dayman ANTUNEZ," which is worth checking when searching auction or provenance databases. Collectors should treat claims of exhibition history at major international museums that appear in some generic online artist bios with caution, since these could not be independently corroborated, and should rely instead on Uruguayan institutional documentation, such as the Museo Mazzoni retrospective, for provenance and authenticity questions, since no gallery of record or estate representative could be confirmed.