July 6 th, 2012

Mariano Rodriguez, words for a centennial


By then, the life story of the singular artist was not yet very extensive. Born in Havana on August 24, 1912, had studied more or less irregular in the San Alejandro Academy, but his real learning took place in Mexico, where he learned firsthand the mural movement and was filled with zeal for the popular art education. This explains why his return was part of Free Studio of Painting and Sculpture which was short-lived in some houses near the Capitol building and it was one of the artists who painted murals at the Ecole Normale de Santa Clara, theirs was provocative from the same title: Sex Education.

But Mariano was not a mere follower of the mural. His interest in Renaissance art was in unison with his admiration for Picasso, particularly that of the neoclassical period. His skill in drawing the figures and for the strength in the compositions, gave an early eloquence to his art. Think of Unity, the piece that gets the third prize at the Second National Exhibition of Painting and Sculpture, held in 1938. The piece was exhibited in 1940 at 300 years of art shows in Cuba, held at the University of Havana under the auspices of the National Institute of Plastic Arts, curated by Domingo Ravenet and Guy Perez Cisneros and then part of the collection and belonging to the Ministry of Education.

His work, treasured in the collections of our National Museum of Fine Arts, the Casa de las Americas and other institutions is emblematic of Cuban art in the twentieth century. His whole career seems to justify and amplify the predictions he made about the writer Ramon Guirao in the article dedicated to him in 1938 in the journal Graphs:

Mariano is headed señeramente to a form of expression that responds to our true spiritual state, not the simplistic line of the picturesque, but in achieving an American medularmente will form, leading to the most hidden corner of the canvas the poetic atmosphere, fixing with the apparent simplicity that the principles of a plastic forming demands. The more typical American, purer, must stem from those two opposing points of controversy, of the picturesque deep, meaning, and the universal American.

May 24th, 2012

Art in the streets of Havana


From May 10 until June 11 the main streets of the city of Havana have become impromptu art galleries, in which the Cubans and foreign visitors can look out to one of the most prestigious art windows third World..

This year the event is held under the motto "art practices and social imagination" and despite its limited budget, the Biennale is considered one of the main alternative forums for contemporary art, this time with the presence of 178 artists from 43 countries .

Born in 1984, the Havana Biennial is defined as an artistic forum outside major international circuits as a meeting of Latin American and Caribbean contemporary art, emerging from the museums and exhibition sites closed to reach open spaces.

Jun 5th, 2012

Diego Rivera Murals


Diego Rivera’s murals are far too numerous to mention here. However, I have selected three that I consider important works from his fruitful career and that have captured the eye of the people: Labors of the Mexican People, Mural of the National Palace in Mexico City and Man at the Crossroads-Rockefeller Center in New York City.

The murals that Rivera painted in Mexico made it so famous that he became not only the head of pictorial school, but also the political leader. His activities in this last order it have done center of not few controversies and eventful journeys, like, for example, when the Hotel of the Prado refused, in the Mexico City, to exhibit great fresh his in which they appeared the words “God does not exist”, that Diego, as well, refused to let erase, until finally it yielded when returning in 1956 from a trip to Russia made by reasons for health. Diego Rivera was member of the Communist Party from 1923 to 1930 and of 1954 until his death.

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