973:"Although freedom of expression is nonexistent in Cuba, a certain amount of dissonance can be tolerated for recognized artists, at the right time and the right place, which basically means occasionally, in officially sanctioned (and controlled) venues, with very little (if any) spillover in the media. This keeps everybody on his or her toes and creates tension that is useful for the state. The global market seems to like its Cuban art with a dash of political irreverence, though many great works of Cuban artists sold abroad feature no obvious Cuban, Caribbean, or Latin American style or content. Cuban artists are often masters of double entendre and detachment (parody, irony, sarcasm, and pastiche). The regime can afford to appear moderately open-minded since this kind of art is mostly inconsequential on the island. It can be censored when it appears to be crossing the line, perhaps leaving the artist free to present it abroad and to exhibit some other works at home."
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department was created, the
Ministry of Tourism, to further enhance tourism, which is Cuba's largest source of income. The initial reaction of the artists, as well as the general population, was withdrawal; "Withdrawal from the public to the private…from the collective to the individual…from the epic to the mundane…from satire to metaphor...Withdrawal from controversy…withdrawal from confrontation". But it was the withdrawal from conceptual to figurative art that defined the change in painting. Due in large measure to the interest of tourists, art took on higher-visibility, as well as returning to a more figurative mode of expression. Art also worked as space where Cubans debated some of the social problems magnified by the "
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428:. During her long career, she worked in a variety of media, including painting, pottery, and mosaic, and explored a variety of subjects and themes, but whether creating her abstracted still life paintings or her famed large scale public murals, her work consistently employed vivid color and elaborate composition, as well as representations of Cuba's tropical flora and Havana's ubiquitous Spanish Colonial architectural motifs. For all its colorful energy, however, French critic Francis de Miomandre sensed in her work "a closed, completely enigmatic world, haunted by an enigmatic silence." She, Lam, and Enriquez have come to be considered Cuban art's most distinctive and definitive stylists.
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Cuba became a token in the artwork in a phase known as "tokenization". This artwork often combined the shape of the island of Cuba with other attributes of the nation, such as the flag. By combining the various symbols of Cuba the artists were proudly proclaiming 'this is who we are'. Some art critics and historians however will argue that this was partially due to the isolated nature of the island, and that use of the island in artwork represented a feeling of being alone; as with all art, the intention of the artist can have many interpretations.
764:. The simultaneous assimilation or synthesis of the tenets of modern western art and the development of Afro-Cuban art schools and movements created a new Cuban culture. Art proliferated under state programs of sponsorship and employment during this post-revolutionary period; the programs both politicized artistic content and inspired confidence in the people within the framework of Cuba's reinvented nationalism. Nelson Dominguez and Roberto Fabelo went from Abstraction and
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moody contemplation. If Enríquez painted the delirium after the triumphed siege, Ponce painted the anteroom of grief. Enriquez was a self-taught painter from a wealthy family, while Ponce, though he had attended the San
Alejandro Academy, spent his life in poverty. What these two most original and distinctive of the Vanguardia painters had in common - aside from severe problems with alcoholism - was the fact that neither had studied in Europe.
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those years he began to work with sculpture as a way to supplement his income, turning to paint a few years later. Like most naïve artists, he finds inspiration for his work in the experiences of his daily life: religious rituals and the events and people of his community. Having grown up in a neighborhood of mostly
Haitian families, he is well aware of their struggles; he sometimes describes his work as "polemic". In January 1997,
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occurred, since artists wouldn't want to make art that was against the revolutionary movement as that was the source of their funding. It was during the 1980s in which art began to reflect true uninfluenced expression. The "rebirth" of expression in Cuban art was greatly affected by the emergence of a new generation of Cubans, which did not remember the revolution directly.
331:. Born around the turn of the century, these artists grew up amidst the turmoil of constructing a new nation and reached maturity when Cubans were engaged in discovering and inventing a national identity. They fully shared in the sense of confidence, renovation, and nationalism that characterized Cuban progressive intellectuals in the second quarter of the twentieth century.
312:, a painter who studied in Paris, was typical of the movement. He discovered his homeland Cuba from abroad, apparently motivated by a combination of distance and nostalgia. On his return, Abela entered a highly productive period of work. His murals of Cuban life were complemented by cartoons which became social critiques of Cuban life under the authoritarian Machado regime.
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308:, American neo-colonial control, and the consequent economic crisis. They returned to Cuba committed to new artistic innovation and keen to embrace the heritage of their island. These artists became increasingly political in their ideology, viewing the rural poor as symbols of national identity in contrast to the ruling elite of post-independence Cuba. Vanguard leader
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would carry on folkloric traditions and
Santeria motifs in their individual expressions while infusing their message with humor and mockery. The art took a qualitative leap by creating international art structured on African views, not from the outside like surrealism but from the inside, alive with the cultural-spiritual complexities of their own existence.
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problematic; usually meaning an artist is self-taught, it has been used in the past by academic artists or critics as a derogatory term, since naïve artists tend to ignore the basic rules of art. Despite their disregard for academic conventions, naïve artists are often quite sophisticated in their personal forms of artistic expression.
386:(1902 - 1982), a Cuban of Chinese, Spanish, and African ancestry, had little direct involvement with the Havana Vanguardia, but was of the same generation and had similar motivations and experiences with his art. After attending the San Alejandro Academy, he initially took the more traditional route of studying in
951:"A question of major importance in Cuban culture is the link between radical political and artistic positions…where culture carries a marked social edge attuned to the circumstances in which it is produced and where it is forced to construct a national identity in the face of colonial and neo-colonial powers."
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their expression of Cuban themes. These painters' criollo images, for all their differences, shared a modern primitivist view of Cuba as an exotic, timeless, rural land inhabited by simple and sensual, if also sad and melancholic people. Although rooted in Cuba's natural and cultural environment, the vision of
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were rare. Most subsisted on low-paying teaching jobs and commercial work; a few, such as
Enriquez and Pelaez, had means of support via their families, and some, such as Ponce and Manuel, lived in poverty. The only one of them to eventually command high prices for his work while still living was Wifredo Lam.
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of the 1950s, to immortalizing the proletariat, farmers, workers, and soldiers, while continuing to utilize many of the techniques they learned under the tutelage of
Antonia Eiriz Vázquez. By combining nationalism with the politicization of art, artists maintained a level of freedom that continues to
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Antonio
Gattorno (1904 - 1980) and Eduardo Abela (1889 - 1965) were the earliest painters of their generation to adapt modern European and Mexican art to the interpretation of their Cuban subjects. They also found in the directness and idealization of early Renaissance painting an effective model for
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In 1898 Spain's four centuries of rule over Cuba came to an end when U.S. troops intervened on the side of rebel fighters. Independence, however, proved illusory, with the United States controlling Cuba's foreign policy and much of its economy, while strong-man presidents did little to foster freedom
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The exhibition
Volumen Uno, in 1981, wrenched open the doors for The New Art. Participants, many of whom were still in school, created a typical generational backlash by artists of the previous generation including Alberto Jorge Carol, Nelson Dominguez, and César Leal, who went on the attack against
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In Cuba, these new developments were naturally synthesized through the Afro-Cuban sensibility and emerged as The New Art, an art movement widely recognized as distinctly Cuban. Young artists born after the revolution rebelled against modernism and embraced conceptual art, amongst other genres. Many
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In the 1950s, American tourism in Cuba created a great demand for folkloric and picturesque art, leading to increased production of what came to be known as "tourist art", most of which was classified as naïve. At the time this art was seen as a "backward, barbaric, and crude form of expression that
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By 1935 the
Vanguardia was recognized in Cuba as an important cultural force and began to gain considerable notice internationally. Major exhibitions of Cuban modern art were held in the United States and throughout Latin America in the late 1930s and 40s. Wrote Albert H. Barr, Jr., organizer of the
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The masters of the first generation of Cuban modernism set the stage for the prevalence of certain themes that would govern Cuban art after 1930, and which would have varying degrees of impact on those generations that would later emerge entirely in exile after 1960. Between 1934 and 1940, and still
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By the middle of the 1980s, another group of artists sought a more explicit political responsibility to "revive the mess", "revive the confusion", as Aldo
Menendez incorporated into his 1988 installation. Accompanying Menéndez's installation was a note: "As you can see, this work is almost blank. I
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By the late 1970s, many of the graduates of the school of the arts in Cuba, "the Facultad de Artes Plasticas of the Instituto Superior de Arte" (founded in 1976) were going to work as schoolteachers, teaching art to young Cubans across the island. This provided a platform for the graduates to teach
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The primitive-outsider art of Corso de Palenzuela (b. Havana, ca.1960), a self-taught painter of Sephardic ancestry, taps a rich lode of memory for its source material, depicted in a very personal Cuban landscape. Although he emigrated to the U.S. with his family at the age of eight, his colorfully
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Rodriguez is among the most prominent Cuban Naïve painters. He began painting at eighteen years of age; he has described his first painting, of a girlfriend's home, as "horrible". After serving in the army and working in construction, he was assigned to farm labor during Cuba's "special period". In
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Due to Cuban national pride in academic achievement and artistic training, it had been considered demeaning to be called a naïve artist in the early years after the Revolution. Since naïve artists were not generally recognized by the government as professional artists, they were not taken seriously
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The artists themselves saw little material benefit from the growth of interest in modern Cuban art. Occasional purchase awards were doled out, as at the First National Salon of Painting and Sculpture in 1935, but there was no consistent system of patronage, and commissions for Cuba's avant-gardists
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In the late 19th century, landscapes dominated Cuban art and classicism was still the preferred genre. The radical artistic movements that transformed European art in the first decades of the century arrived in Latin America in the 1920s to form part of a vigorous current of artistic, cultural, and
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After the Cuban Revolution of 1959, some artists felt it was in their best interests to leave Cuba and produce their art, while others stayed behind, either happy or merely content to be creating art in Cuba, which was sponsored by the government. Because it was state-sponsored, implied censorship
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This age of artists was dedicated to people who were willing to take risks in their art and truly express themselves, rather than to express things that supported the political movement. While looking at the art of the 1980s we see a trend in the use of the shape of Cuba itself as inspiration for
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In the 1960s the aftermath of the Cuban revolution brought new restrictions, causing an exodus of intellectuals and artists. The new régime required "a practice of culture as ideological propaganda, along with a stereotyped nationalism". Although government policies - driven by limited resources -
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is usually recognized by its childlike freshness and amateurish qualities, such as lack of accurate perspective, little or no modeling, and bold coloration. Artists who work in this style are generally acknowledged as favoring a more "primitive" or "folk" style of art. The term naïve itself can be
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The emphasis which Carlos Enríquez (1900 - 1957) and Fidelio Ponce (1895 - 1949) placed on the themes of change, transformation, and death have had an enduring impact on Cuban art. Enríquez and Ponce represent two approaches to death: the first marked by exuberant flight and emotion; the second by
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by artist Florencio Gelabert Soto, is a sculpture in the shape of Cuba but is broken into many pieces. One interpretation could reflect the still unequal treatment towards artists, and the repression they were under. A movement that mirrored this artistic piece was underway in which the shape of
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began churning out posters for propaganda purposes. Many of these used stereotypically Soviet design features, but even some early samples showed hints of the Cuban flair for colorful and inventive graphic design, and by the late 60s, Cuban graphic art was in its heyday. Though still essentially
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exhibition was Julián Espinoza Rebolledo, also known as Wayacón. Born in 1931 (although his birth was not registered until 1941, making him "officially" 10 years younger than he actually is), Wayacón began painting as a child. Attending school only through the 3rd grade, this self-taught artist
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Throughout most of its 400 years under Spanish rule, Cuba and specifically Havana functioned as the primary entrepôt of Spain's empire in the Americas, with a population of merchants, administrators, and professionals who were interested in supporting the arts. In the 16th century, painters and
804:, shifting emphasis away from craftsmanship to ideas. This often meant the elimination of objects in art production; only ideas were stated or discussed. It required an enhanced level of participation by the patron (interactive participation or a set of instructions to follow). Conceptual art,
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By the late 1940s, the first generation of vanguard artists had dispersed, pursuing their individual careers. Lam went on to great success, living mainly in Paris after 1952. Arche, Fernandez, and Peña died young; Enriquez and Ponce both achieved some international recognition before dying in
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In 1990 the Cuban government began programs to stimulate the tourist trade as a means of offsetting the loss of Soviet support. In 1992 the constitution was amended to allow and protect foreign-owned property, and in 1993 the dollar was permitted to circulate legally. In 1994 a cabinet-level
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during his two relatively brief stays in Paris. A San Alejandro graduate highly skilled in drawing and composition, Manuel chose to apply primitivist simplicity to his Cuban subjects - a favorite being the female face - and brought out qualities of melancholy and strength, as captured in
1001:). These unique views of reality form a core of practices, beliefs, and customs that have shaped a cultural distinction labeled Afro-Cuban and known as the dominant force in Cuban art; a transracial, "hybridized, inventive, and influential in the construction of contemporary culture".
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Few naïve artists have been represented in either Contemporary Art Salons or the Biennial of Havana. However, with growing interest in the genre, there are, as of 2015, increasing numbers of academic artists who have begun to paint in this style, with greater representation for all.
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is perhaps the single most important exponent of contemporary Afro-Cubanismo in the visual arts. Born in 1944 into a Santería-practicing family, he graduated from the prestigious Academia de Artes Plásticas San Alejandro in Havana in 1962 with honors in sculpture and painting.
665:. There is a chess park, with giant boards and tables, houses individually decorated with ornate murals and domes, a riot of giant roosters, gauchos, Afro-Cuban religious figures installed by the entrance of many houses, a Fusterised theatre, public squares, and a large mural.
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reeling from the overthrow of Machado, Cuba was searching for its cultural identity in its European and African roots. The landscape, flora, fauna, and lore of the island, as well as its peasants - the often neglected foundation of Cuba's soul and economy - emerged in its art.
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A slave revolt culminating in neighboring Haiti's declaration of independence in 1804 proved something of a windfall for Cuba, as refugee plantation owners and their slaves relocated to the underdeveloped, underpopulated eastern portion of the island. However, the success of
257:, went on to become instructors or administrators at the Academy San Alejandro and other arts institutions. The Modernist movements which convulsed European art early in the 20th century initially had little impact on the closed, academic world of contemporary Cuban art.
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In 1981 Cubans saw the introduction of "Volumen Uno", a series of one-man exhibitions featuring contemporary Cuban artists. Three years later, the introduction of the "Havana Bienal" assisted in the further progression of the liberation of art and free speech therein.
140:(1734 – 1804). Though mostly absent of originality, his religious scenes - particularly those decorating the cupola and altar of the Church of Santa María del Rosario near Havana - are spectacular, and include the first fine art depictions of Black Cuban slaves.
653:, known as Fuster. In addition to his paintings and drawings, he has over the years transformed the poor suburb of Jaimanitas, Havana, into a magical, dreamlike streetscape, drawing on his expertise as a ceramist to create an environment evocative of
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must be swept away," rather than an authentic representation of a living culture. After the Cuban Revolution of 1959, educational, cultural, and artistic activities were encouraged, with artists able to attend the nation's free-access art schools (
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utopia of social justice promised by the Cuban revolution. While Cuba shares many characteristics with other Latin American countries three factors guarantee it a unique placement amongst the formerly colonized countries of the Americas:
583:. These artists were discovered during a 1996 trip to Cuba by Levinson, Olga Hirshhorn, and others, who crisscrossed the island searching for examples of this style of art, of which so little had previously been seen in the United States
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took a more satirical view of the urbanized "Creole aristocracy". Opposed to Cuban independence, Landaluze eventually fell out of favor with the public, but his work remains valued for capturing the atmosphere and attitudes of his time.
458:, Aristides Fernandez, Rafael Blanco, Domingo Ravenet, Alberto Peña, and Lorenzo Romero Arciaga. The Second National Salon of Painting and Sculpture in 1938 brought to the fore a second generation of modern artists which included
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supported himself as a builder, auditing courses at the Cuban academy when he was older. In the 1950s he joined the Signos artists' group and participated in his first exhibitions in Japan and Switzerland. Although an admirer of
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creating scenes featuring Cuba's lush natural environment. Despite the benign content of their work, many artists (perhaps most prominently, Collazo) were strong supporters of Cuban independence, and some were forced into exile.
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did narrow artistic expression, they expanded, through education and subsidies, the number of people who could practice art, breaking down barriers through democratization and socialization. The increasing influence of the
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whose skill as a portraitist made him popular among Cuba's elite. Though having no formal art education himself, he opened what was possibly Cuba's first painting workshop/studio, and later graduated with honors from the
402:. Returning to Cuba in 1941 after two decades abroad, Lam was enchanted, dismayed, and powerfully inspired by his homeland. He rapidly developed his mature style, which incorporated elements of Cubism, Surrealism, and
646:, his greatest inspirations come from observing the practice of the Santeria religion. Many of his paintings show their influence, containing vivid colors and religious imagery, with an almost hallucinogenic quality.
420:(1896 - 1968) was the sole major female artist of the Vanguardia. A San Alejandro graduate, she studied and worked for several years in Paris, where, before her return to Havana in 1934, she absorbed the influence of
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The colors used in Cuban naïve art are especially vivid, with artists using the vibrant hues of their tropical home to present an idealized view of rural life, with spiritual references to Catholicism and Santeria's
339:(the Cuban) was far removed from contemporary historical reality. Instead, it was based on an ideal conception of Patria that had been a component of Cuban nationalism and art since the nineteenth century.
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Mouial, Gérald. "Magic Art in Cuba: 51 Cuban Painters, Naïve, Ingenuous, Primitive, Popular, Spontaneous, Intuitive…". Ciudad de la Habana: Artecubano; National Council of the Visual Arts of Cuba. 2004:
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Mouial, Gérald. "Magic Art in Cuba: 51 Cuban Painters, Naïve, Ingenuous, Primitive, Popular, Spontaneous, Intuitive…". Ciudad de la Habana: Artecubano; National Council of the Visual Arts of Cuba. 2004:
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Mouial, Gérald. "Magic Art in Cuba: 51 Cuban Painters, Naïve, Ingenuous, Primitive, Popular, Spontaneous, Intuitive…". Ciudad de la Habana: Artecubano; National Council of the Visual Arts of Cuba. 2004:
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Mouial, Gérald. "Magic Art in Cuba: 51 Cuban Painters, Naïve, Ingenuous, Primitive, Popular, Spontaneous, Intuitive". Ciudad de la Habana: Artecubano; National Council of the Visual Arts of Cuba. 2004:
780:, it presented works by more than a hundred artists and represented rival schools of twentieth-century art: early modernists (Picasso, Miro, Magritte); the next generation (Lam, Calder, Jacques Hérold,
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is an exceptionally diverse cultural blend of North American, South American, European, and African elements, reflecting the diverse demographic makeup of the island. Cuban artists embraced European
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by the arts community at large and were at times harassed, their art sales being claimed illegal activity by the Cuban government. In the late 20th century, however, this attitude began to change.
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and democracy. Artists of the early Republican era continued much as before, painting landscapes and scenes of Cuban life in the traditional European style, some of them showing light touches of
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Laughter became the antidote of anarchistic energy for and from the revolution; "one moment an aggressive undertow, then a jester's provocation, pressuring the tensions", wrote Rachel Weiss in
892:, doing away with exactitude, tends to depict the extreme limits of an example. This sardonic Cuban humor has become as ubiquitous in Cuban art as the bright Caribbean colors of its palette.
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of 1959, which left Cuban artists isolated from art developments and markets in the United States and Europe. Several, such as Pelaez, Abela, and Manuel, continued to produce work in Cuba.
757:. Korda was a popular fashion photographer who became a devoted revolutionary and close companion of Fidel Castro, taking thousands of shots of Castro's travels and Cuba's transformation.
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is allergic to authority and prestige, the enemy of order in all its manifestations…civil disenchantment, the incredulous and mocking inner nature of the Cuban rises to the surface." The
536:(deities), legends, and other aspects of Afro-Cuban culture, past and present. This naïve style of art portrays the typical Cuban worldview of the enjoyment of life despite its hardships
753:, became one of the world's most iconic images. It was eventually altered and adapted for everything from gum wrappers to a 90 ft. tall commemorative iron sculpture in Havana's
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In the 1960s government agencies such as the Commission of Revolutionary Orientation (the publishing division of the Cuban Communist Party, later renamed Editora Politica (EP)) and
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sculptors began arriving from Europe to decorate Cuban churches and public buildings. By the mid-1700s, native-born artists working in the European tradition were active in Cuba.
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students about freedom of expression in medium, message, and style of art. It was this new level of experimentation and expression that was to enable the movement of the 1980s.
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in 1944, "We may be grateful for that reckless exuberance, gaiety, candor, and love of life which the Cuban painters show perhaps more than the artists of any other school."
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are exemplars of this sensibility, mixing it with kitsch and harkening back in time while identifying with current Cuban attitudes, liberating art on the eve of the Cuban '
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exhibition at the Museum of Modern Art in New York, subsequently shown in Paris. Modern Cuban artists continue to do significant work in this tradition, including
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Early in 1927, solo exhibitions were held for Victor Manuel and Antonio Gattorno at Havana's Association of Painters and Sculptors, followed in May by the
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This idealized vision featured strongly in the portraits and landscapes of Victor Manuel (1897 - 1969), who was particularly impressed by the works of
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60:(1885–1949), was renowned as a colorist whose seductive portrayals of women sometimes made overt references to the tropical settings of his childhood.
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193:(1830 - 1889), whose paintings depicted plantation life as rough but essentially natural and harmonious. His political cartoons for the magazine
205:(known as the "Academy San Alejandro", in honor of an important founder/benefactor) was established in Havana, under the direction of Frenchman
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304:. Modernism burst on the Cuban scene as part of the critical movement of national regeneration that arose in opposition to the dictatorship of
745:(b. Havana, 1928 – d. Paris, 2001). The candid shot of a moody exhausted Guevara, taken in March 1960 at a memorial service for victims of an
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1365:"Naïve Art". The Oxford Dictionary of Art and Artists. Ed. Ian Chilvers. Oxford: Oxford University Press. 2009. Oxford Reference Online. Web.
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in the early 1960s. Although this and other cooperative efforts waned over the following decades, the artists themselves continued to paint.
548:). Even so, whether due to physical isolation or disinterest in the world of academic painting, there remained a large number of self-taught
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in the 1960s and 1970s did impact Cuban culture, but the Cuban government did not match the U.S.S.R in its degree of control over the Arts.
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middle-age. Others, such as Gattorno and Pogolotti, left Cuba and took their art in entirely new directions; still more emigrated after the
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movements, which were characterized by the mixing of modern artistic genres. Some of the more celebrated 20th-century Cuban artists include
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held a one-man show in Santiago de Cuba's largest and most prestigious gallery, Oriente, and continues to take part in exhibitions held by
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In addition to the Christian, predominately Catholic, four African Religions are continuing to influence culture being practiced in Cuba:
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article entitled "Ebullient Cubans Make a Lot Out of a Little", which also speaks of the art-market success of his naïve style.
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Yvon Grenier, Culture and the Cuban State; Participation, Recognition, and Dissonance under Communism (Lexington Books, 2017)
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Ché poster, 1968, designed by Alfredo Rostgaard, based on a photograph by Alberto Korda. The poster was distributed in
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209:. The oldest art academy in Latin America, it is the second-oldest institution of higher education in Cuba, after the
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Mouial, Gérald. "Magic Art in Cuba: 51 Cuban Painters, Naïve, Ingenuous, Primitive, Popular, Spontaneous, Intuitive…"
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Mouial, Gérald. "Magic Art in Cuba: 51 Cuban Painters, Naïve, Ingenuous, Primitive, Popular, Spontaneous, Intuitive…"
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Mouial, Gérald. "Magic Art in Cuba: 51 Cuban Painters, Naïve, Ingenuous, Primitive, Popular, Spontaneous, Intuitive…"
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Mouial, Gérald. "Magic Art in Cuba: 51 Cuban Painters, Naïve, Ingenuous, Primitive, Popular, Spontaneous, Intuitive…"
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Mouial, Gérald. "Magic Art in Cuba: 51 Cuban Painters, Naïve, Ingenuous, Primitive, Popular, Spontaneous, Intuitive…"
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In 1997, Sandra Levinson, executive director of the Center for Cuban Studies Art Space in New York City, organized
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in Madrid. His portraiture was firmly in the European Classical style but had a distinctive freshness and energy.
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Cubans remained intent on reinforcing a Cuban identity rooted in its own culture, as exemplified by the work of
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1062:. Ed. Philip Brenner et al. Lanham, MD: Rowman & Littlefield Publishers, Inc., 2008. 348–354. Print.
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Fernandez, Antonio Eligio. "The Island, the Map, the Travelers: Notes on Recent Developments in Cuban Art".
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were creating vivid, powerful, and highly distinctive works which had a global influence on graphic design.
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By the late 1920s, the Vanguardia artists had rejected the conventions of Cuba's national art academy, the
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the U.S. Dep't of State-Office of the Historian; The United States, Cuba, and the Platt Amendment, 1901;
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Fure, Rogelio Martinez. "Afrocuba: An Anthology of Cuban Writing on Race, Politics, and Culture". Ed.
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618:. In June 2002 his work was described as "riotously colorful and stacked like a rush-hour train" in a
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In the 1980s, when the New Cuban Art Movement was consolidating, many still hoped to establish the
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359:, 1929), which is considered by critics to be one of the defining pieces of Cuban Avant-garde art.
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376:, these well-received shows were important strides towards the acceptance of modern art in Cuba.
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could only start it due to the lack of materials. Please help me." Here is the Cuban humor, the
848:, Flavio Garciandia, Gustavo Perez Monzon, Rubin Torres Lloret, Gory (Rogelio Lopez Marin), and
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to differentiate him from his son, artist Luis Rodríguez Ricardo (born 1966), who calls himself
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vivid workplaces great emphasis on bringing out the rich cultural heritage of his native land.
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1782:. Veigas, José. Los Angeles, CA: California/International Arts Foundation. 2002. p. 337.
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An image commonly used by Cuban graphic designers was "Guerillero Heroica", a photograph of
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132:, José Nicolás de Escalera, ca. 1770. Collection of the National Museum of Fine Art, Havana.
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Cuba possesses the most varied cultural traditions of all the African diaspora in America
399:
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52:(December 8, 1902 – September 11, 1982), who created a highly personal version of modern
1534:
Ciudad de la Habana: Artecubano; National Council of the Visual Arts of Cuba. 2004: 180.
1457:
Ciudad de la Habana: Artecubano; National Council of the Visual Arts of Cuba. 2004: 178.
963:
Spain continued emigration to Cuba in large numbers until the middle of the 20th century
213:. Continuing to the present day, it has produced many of Cuba's most important artists.
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Ciudad de la Habana: Artecubano; National Council of the Visual Arts of Cuba. 2004: 15.
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370:, a group show featuring mostly Cuban modernists. Trumpeted by the avant-garde journal
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Ciudad de la Habana: Artecubano; National Council of the Visual Arts of Cuba. 2004: 9.
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By the later 19th-century landscape painting had become popular, with artists such as
71:, a small neighborhood of artists have transformed the walls around them. October 2002
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Ciudad de la Habana: Artecubano; National Council of the Visual Arts of Cuba. 2004: 9
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reconfigured and reactivated … to be critically, ethically, and organically Cuban".
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939:"Every Cuban is an artist and every home is an art gallery," wrote Rachel Weiss in
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Grant, Annette. "Art/Architecture; Ebullient Cubans make a Lot Out of a Little".
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1306:. New Jersey: Office of Hispanic Arts Mason Gross School of the Arts, 1988: 44.
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Padura Fuentes, Leonardo. "Living and Creating in Cuba: Risks and Challenges".
288:, which most of them had attended. In their formative years, many had lived in
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which was to become one of the most recognizable images of the 20th century.
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776:(May Salon) was an art exhibition held in Havana in July 1967. Organized by
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Modern Cuban art was at last seen in Paris, France, in an exhibition at the
33:
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1873:
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is Luis Rodríguez Arias (born 1950), a baker by profession. He is known as
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The Vanguardia artists received international recognition in 2003 with the
17:
1624:
http://www.arthistoryarchive.com/arthistory/photography/Alberto-Korda.html
1353:
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Tonel, Antonio Eligio. "A Tree From Many Shores: Cuban Art in Movement".
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The first of these to leave a substantial, identifiable body of work was
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1554:. Berkeley: University of California Press, 2003. 208–247, Print.
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148:
1147:
Poupeye, Veerle; Caribbean Art; Thames and Hudson Ltd., London, 1998;
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1120:
Cuban Art & National Identity: The Vanguardia Painters, 1927-1950
994:
390:, and lived and worked in Spain for many years. After serving in the
387:
297:
285:
175:- realist yet romanticized views of day-to-day life - in Cuban art.
1518:
Gonzalez, David-"Striving to Capture Cultures and Beauty of Cuba",
1178:
http://www.artexpertswebsite.com/pages/artists/escobarydeflores.php
454:
Other notable artists of the original vanguardia were Jorge Arche,
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Contemporary Cuban Art Gallery in Miami from Luis Miguel Rodriguez
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Cruz-Taura, Graciella; Fuentes-Perez, Ileana; Pau-Llosa, Ricardo.
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art project, which deals with issues of race and discrimination.
414:, which is considered to be among the masterpieces of Cuban art.
1937:
1906:
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find contemporary artworks from emerging Cuban artists in London
1850:. Berkeley: University of California Press, 2003. 208–247.
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1910:
1165:
http://www.cernudaarte.com/artists/jose-nicolas-de-la-escalera/
625:
Another artist featured in the 1997 Metropolitan Arts Center's
36:, and the early part of the 20th century saw a growth in Cuban
1892:
1848:
The New Cuban Art: Post Modernism and Postsocialist Condition
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The New Cuban Art: Post Modernism and Postsocialist Condition
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http://www.cernudaarte.com/artists/victor-patricio-landaluze/
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exhibition, which ran from September 11 to October 10, 1997.
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Havana Cultura - Visual Arts - Alberto Korda, photographer;
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painters. Many of these artists joined together to form the
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From the Rare Book and Special Collection Division at the
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924:', in which the Soviet Union withdrew its financial aid.
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Better known internationally is the work of photographer
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Wifredo Lam and the International Avant-Garde, 1923-1982
1354:
Cuban Art and National Identity: The Vanguardia Painters
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Wifredo Lam and the International Avant-Garde, 1923-1982
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http://www.cernudaarte.com/artists/victor-manuel-garcia/
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The native population was eliminated in the 17th century
877:, "perhaps the most quintessentially Cuban expression".
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mingled together to expand the very definition of Art.
1622:
The Art History Archive - photography: Alberto Korda;
1611:
http://havana-cultura.com/en/visual-arts/alberto-korda
1585:"Slanted Magazine #21:Cuba – The New Generation, 2013"
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Art Experts; Vicente Escobar y de Flores (1762-1834);
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Reinventing the Revolution: A Contemporary Cuba Reader
523:
According to European and North American Art critics,
189:
A leading early artist in this genre was Spanish-born
1423:, and Jean Stubbs. Melbourne: Ocean Press. 1993: 104.
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Art in Latin America: The Modern Era, 1820–1980
1826:
Queloides: Race and Racism in Cuban Contemporary Art
1217:
https://history.state.gov/milestones/1899-1913/platt
394:, he fled to Paris, where he came under the wing of
79:, whose photographs following the early days of the
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1639:. Pittsburgh: University of Pittsburgh Press, 2013.
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http://www.cernudaarte.com/artists/vicente-escobar/
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828:the upstarts. The group, Volumen Uno - made up of
1724:The Oxford Dictionary of American Art and Artists
424:and, especially, the Cubism of Pablo Picasso and
410:rituals he'd grown up around. In 1943 he painted
292:, where they studied and absorbed the tenets of
282:Escuela Nacional de Bellas Artes “San Alejandro”
1386:. New York, NY: Center for Cuban Studies. 1997.
203:Academia Nacional de Bellas Artes San Alejandro
1692:Detective Fiction in Cuban Society and Culture
97:movement influenced by Latin American artists
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1922:
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1342:http://www.cubanet.org/htdocs/lee/amelia.html
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155:Real Academia de Bellas Artes de San Fernando
8:
2416:Committees for the Defense of the Revolution
1780:Memoria : Cuban art of the 20th century
1258:. New Haven: Yale University Press, 1989: 7.
1114:
1112:
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800:The 1960s and 1970s saw the introduction of
1163:Cernuda Arte: José Nicolás de la Escalera;
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672:Although not technically a naive artist,
315:Pioneers of the movement included Abela,
2426:Military Counterintelligence Directorate
1726:. Oxford: 2007. Oxford University Press.
1340:Cubanet-artist biography:Amelia Pelaez;
1202:Cernuda Arte: Víctor Patricio Landaluze
44:(1896–1968), best known for a series of
1750:To and from Utopia in the New Cuban Art
1316:
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941:To and from Utopia in the New Cuban Art
882:To and from Utopia in the New Cuban Art
1803:
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993:(Ewe Fon), and the secret, male-only,
718:producing propaganda, artists such as
1828:. Pittsburgh: Mattress Factory, 2011.
1657:. University of Texas Press. p.
1637:Grupo Antillano: The Art of Afro-Cuba
1122:; University Press of Florida, 1994;
649:The foremost naïve artist in Cuba is
183:Tipos y Costumbres de la Isla de Cuba
7:
2400:National Revolutionary Police Force
2358:Revolutionary Armed Forces (MINFAR)
2301:National Assembly of People's Power
1722:Morgan, Ann Lee. "Conceptual Art".
1324:; University of Texas Press, 2002;
1286:Cernuda Art: Victor Manuel Garcia;
2049:United States embargo against Cuba
185:, Victor Patricio Landaluze, 1881.
25:
2421:Dirección General de Inteligencia
1769:. 29.3 (2002) 77–90. Print.
1078:. 57.4 (1998) 62–74. Print.
977:Religious influences in Cuban art
947:Political influences in Cuban art
3088:Saint Vincent and the Grenadines
2926:
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1695:. Peter Lang AG. pp. 72ff.
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1189:Cernuda Arte: Vicente Escobar;
598:. Both were represented in the
1898:The Ediciones Vigía Collection
1565:¡Revolucion!: Cuban Poster Art
685:Art in Post-Revolutionary Cuba
253:, Domingo Ramos Enriquez, and
1:
1754:University of Minnesota Press
276:, Antonio Gattorno, ca. 1938.
274:¿Quiere Mas Café Don Nicolas?
3216:United States Virgin Islands
2069:Cuban intervention in Angola
1649:Sims, Lowery Stokes (2002).
445:Musée National d'Art Moderne
406:, along with imagery of the
191:Víctor Patricio de Landaluze
1689:Wilkinson, Stephen (2006).
558:Movement of Popular Artists
542:Escuelas Nacionales de Arte
368:First Exposition of New Art
138:José Nicolás de la Escalera
3253:
2378:Territorial Troops Militia
1879:Contemporary Art from Cuba
1824:de la Fuente, Alejandro.
546:Instituto Superior de Arte
3191:Saint Pierre and Miquelon
2902:
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2541:
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2169:
2089:Fidel's transfer of power
1990:Cuban War of Independence
1635:de la Fuente, Alejandro.
1567:. Chronicle Books, 2003;
932:", as illustrated by the
906:Carlos Rodriguez Cardenas
747:ammunition ship explosion
575:artist's collective from
436:exhibition at New York's
201:On January 11, 1818, the
56:. The Cuban-born painter
3211:Turks and Caicos Islands
1487:Academic Search Complete
515:), oil on canvas, 2008,
1884:Cuban poster collection
1222:April 23, 2015, at the
586:The unofficial head of
490:Juan Ramón Valdés Gómez
251:Antonio Rodriguez Morey
93:There is a flourishing
58:Federico Beltran Masses
3141:British Virgin Islands
2498:International rankings
2335:Prime Minister of Cuba
2330:Vice President of Cuba
1810:: CS1 maint: others (
1273:July 21, 2006, at the
1241:June 14, 2006, at the
866:Immediately Geographic
755:Plaza de la Revolución
710:
520:
277:
243:Antonio Sanchez Araujo
186:
133:
72:
48:projects, and painter
3078:Saint Kitts and Nevis
1320:Sims, Lowery Stokes;
1011:List of Cuban artists
700:
651:José Rodríguez Fuster
517:José Rodríguez Fuster
507:
486:Modern Cuban Painting
434:Cuban Modern Painting
329:Carlos Enríquez Gómez
325:Fidelio Ponce de León
272:
181:
128:
99:José Guadalupe Posada
66:
2701:Association Football
2686:Scouting and Guiding
2478:Dual economy of Cuba
2249:Council of Ministers
2209:World Heritage Sites
2064:Cuban Missile Crisis
2059:Bay of Pigs Invasion
2003:Spanish–American War
1888:The Bancroft Library
769:inspire innovation.
438:Museum of Modern Art
211:University of Havana
207:Jean Baptiste Vermay
146:(1762 - 1834) was a
3093:Trinidad and Tobago
2988:Antigua and Barbuda
2054:Escambray rebellion
1902:Library of Congress
1893:Cuban Art in Boston
1874:Authentic Cuban Art
1846:Mosquera, Geraldo.
1550:Mosquera, Geraldo.
1421:Sarduy, Pedro Perez
1384:Naïve Art from Cuba
846:Juan Francisco Elso
627:Naïve Art from Cuba
600:Naïve Art from Cuba
266:social innovation.
230:José Joaquín Tejada
218:Miguel Arias Bardou
3028:Dominican Republic
2973:North American art
2503:Telecommunications
2368:Revolutionary Navy
2363:Revolutionary Army
2244:Corruption in Cuba
1970:Colonial governors
1563:Cushing, Lincoln;
1520:The New York Times
1482:The New York Times
1118:Martinez, Juan A.;
1040:Visual arts portal
711:
521:
513:The Domino Players
492:(called Yiki) and
357:The Tropical Gipsy
353:La Gitana Tropical
278:
261:Vanguardia artists
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2318:President of Cuba
2296:Political parties
2279:Human trafficking
2264:Foreign relations
2217:
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2156:
2155:
2110:History of Havana
918:Enrique Silvestre
864:art. One-piece,
728:Alfredo Rostgaard
569:Naïve Art in Cuba
472:René Portocarrero
456:Marcelo Pogolotti
392:Spanish Civil War
373:Revista de Avance
255:Leopoldo Romañach
226:José Abreu Morell
222:Guillermo Collazo
101:and the muralist
16:(Redirected from
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2980:Sovereign states
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1587:. Archived from
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844:, Leandro Soto,
784:); and postwar (
766:Neoexpressionism
581:Santiago de Cuba
479:Cuban Revolution
317:Antonio Gattorno
300:, and modernist
241:. Many, such as
81:Cuban Revolution
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1995:Sinking of USS
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1591:on May 11, 2020
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1290:retvd 12 9 15
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1268:Eduardo Abela
1264:
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770:
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751:Havana Harbor
748:
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743:Alberto Korda
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729:
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724:Raul Martinez
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429:
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423:
422:Henri Matisse
419:
418:Amelia Peláez
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396:Pablo Picasso
393:
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321:Victor Manuel
318:
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310:Eduardo Abela
307:
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299:
295:
291:
287:
283:
275:
271:
267:
260:
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248:
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240:
239:Impressionism
234:
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227:
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214:
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208:
204:
199:
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195:El Almendares
192:
184:
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78:
77:Alberto Korda
70:
69:Centro Habana
65:
61:
59:
55:
51:
47:
43:
42:Amelia Peláez
39:
35:
31:
27:
19:
3206:Sint Maarten
3186:Saint Martin
3109:Dependencies
3017:
2759:Cape Verdean
2732:Demographics
2588:Universities
2558:Architecture
2552:
2473:Central bank
2466:Cooperatives
2409:Intelligence
2269:Human rights
2239:Constitution
2028:World War II
1996:
1847:
1842:
1833:
1825:
1820:
1779:
1774:
1766:
1761:
1749:
1723:
1718:
1708:February 12,
1706:. Retrieved
1691:
1684:
1674:February 12,
1672:. Retrieved
1652:
1644:
1636:
1631:
1618:
1605:
1593:. Retrieved
1589:the original
1579:
1564:
1559:
1551:
1532:
1527:
1519:
1514:
1504:
1494:
1486:
1485:(2000): 35.
1480:
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1440:
1433:
1428:
1415:
1408:
1403:
1396:
1391:
1383:
1361:
1349:
1336:
1321:
1304:Outside Cuba
1303:
1282:
1263:
1255:
1254:Ades, Dawn.
1250:
1231:
1226:retvd 2 6 16
1211:
1198:
1185:
1172:
1167:retvd 2 6 16
1159:
1119:
1075:
1059:
1054:
980:
972:
953:
950:
940:
938:
926:
898:Glexis Novoa
889:
885:
881:
879:
874:
871:
865:
862:
842:Ricardo Brey
838:Ana Mendieta
834:Lucy Lippard
826:
822:
818:
799:
771:
759:
736:
720:Rene Mederos
712:
706:
705:'s magazine
692:Soviet Union
688:
679:
671:
667:
655:Antoni Gaudi
648:
626:
624:
619:
616:Grupo Bayate
615:
611:
606:
604:
599:
595:
591:
588:Grupo Bayate
587:
585:
573:Grupo Bayate
572:
568:
566:
562:
557:
553:
549:
545:
541:
538:
533:
530:
522:
512:
508:
485:
483:
475:
453:
449:
442:
433:
430:
416:
411:
400:André Breton
382:
378:
371:
367:
365:
361:
356:
352:
348:Paul Gauguin
344:Paul Cézanne
341:
336:
333:
314:
279:
273:
264:
235:
215:
200:
194:
188:
182:
172:costumbrismo
170:
159:
147:
142:
135:
129:
120:
117:Colonial Era
111:
107:
103:Diego Rivera
92:
74:
29:
28:
26:
3176:Puerto Rico
3083:Saint Lucia
3033:El Salvador
2456:Agriculture
2194:Earthquakes
2124:Timelines:
2018:World War I
1076:Art Journal
1026:Cuba portal
991:Regla Arara
956:Third World
858:Arte Povera
796:The new art
739:Ché Guevara
554:Spontaneous
494:José Toirac
404:African art
384:Wifredo Lam
302:Primitivism
88:Che Guevara
83:included a
54:primitivism
50:Wifredo Lam
38:avant-garde
18:Art of Cuba
3171:Montserrat
3166:Martinique
3161:Guadeloupe
3013:Costa Rica
2845:Architects
2749:Afro-Cuban
2691:Sociolismo
2639:Newspapers
2629:Literature
2617:Censorship
2600:Healthcare
2485:(currency)
2313:Propaganda
2274:Censorship
2199:Hurricanes
2134:Guantánamo
2130:Cienfuegos
2094:Cuban thaw
2084:Maleconazo
2033:Revolution
1985:Little War
1767:Boundary 2
1752:. London:
1573:0811835820
1047:References
999:syncretism
987:Palo Monte
985:(Yoruba),
902:ABTV group
830:Jose Bedia
806:Minimalism
786:Asger Jorn
659:Park Güell
592:el maestro
468:Rita Longa
412:The Jungle
294:Surrealism
167:Dessalines
95:street art
85:picture of
3237:Cuban art
3156:Greenland
3068:Nicaragua
3043:Guatemala
2676:Rationing
2661:Festivals
2605:Hospitals
2583:Education
2513:Transport
2385:(defunct)
2373:Air Force
2306:President
2259:Elections
2184:Provinces
2162:Geography
1806:cite book
989:(Kongo),
934:Queloides
810:Earth art
741:taken by
663:Barcelona
657:'s famed
550:Ingenuous
525:Naïve art
500:Naïve art
447:in 1951.
337:lo Cubano
163:Toussaint
130:Yeyo Yeyo
34:modernism
30:Cuban art
3231:Category
3121:Anguilla
3053:Honduras
3023:Dominica
2998:Barbados
2912:Category
2872:abstract
2867:Painters
2855:Athletes
2814:Lebanese
2799:Japanese
2774:Filipino
2754:American
2706:Baseball
2681:Religion
2624:Language
2612:Internet
2351:Military
2223:Politics
2142:Matanzas
2126:Camagüey
2115:Timeline
2013:Republic
1965:Timeline
1942:articles
1798:50848031
1271:Archived
1239:Archived
1220:Archived
1005:See also
983:Santeria
900:(of the
854:graffiti
408:Santeria
3151:Curaçao
3136:Bonaire
3131:Bermuda
3058:Jamaica
3038:Grenada
2993:Bahamas
2922:Outline
2879:Writers
2850:Artists
2824:Spanish
2819:Mexican
2794:Italian
2789:Isleños
2784:Haitian
2769:Ciboney
2764:Chinese
2573:Cuisine
2546:Society
2534:Culture
2518:airline
2508:Tourism
2444:Economy
2189:Islands
2138:Holguín
1975:Slavery
1950:History
1756:, 2011.
1277:Cubanet
884:. "The
715:OSPAAAL
703:OSPAAAL
644:Picasso
636:Chagall
534:Orichas
149:mestizo
3073:Panama
3063:Mexico
3008:Canada
3003:Belize
2809:Korean
2804:Jewish
2779:French
2744:Cubans
2711:Boxing
2595:Health
2568:Cigars
2563:Cinema
2204:Rivers
2174:Cities
2103:Cities
1940:
1796:
1786:
1699:
1665:
1595:May 7,
1571:
1328:
1151:
1126:
995:Abakua
812:, and
730:, and
642:, and
388:Madrid
327:, and
298:Cubism
286:Havana
228:, and
3126:Aruba
3048:Haiti
2932:Index
2884:women
2829:White
2718:Women
2696:Sport
2671:Radio
2651:Music
2634:Media
2578:Dance
2483:Peso
1997:Maine
890:photo
886:photo
875:photo
640:Degas
605:Luis
577:Mella
290:Paris
284:, in
46:mural
3196:Saba
3018:Cuba
2340:list
2323:list
2284:LGBT
1938:Cuba
1812:link
1794:OCLC
1784:ISBN
1710:2016
1697:ISBN
1676:2016
1663:ISBN
1597:2020
1569:ISBN
1489:: 2.
1470:179.
1326:ISBN
1149:ISBN
1124:ISBN
916:and
856:and
772:The
632:Miró
346:and
165:and
3111:and
2553:Art
2291:Law
1659:154
1509:85.
1499:82.
904:),
749:in
661:in
552:or
67:In
3233::
2644:TV
2144:,
2140:,
2136:,
2132:,
2128:,
1886:,
1808:}}
1804:{{
1792:.
1731:^
1661:.
1539:^
1462:^
1445:9.
1370:^
1311:^
1295:^
1134:^
1083:^
1067:^
943:.
912:,
908:,
896:,
840:,
836:,
832:,
808:,
788:,
726:,
722:,
638:,
634:,
579:,
496:.
466:,
462:,
323:,
319:,
296:,
249:,
245:,
224:,
220:,
105:.
2966:e
2959:t
2952:v
1930:e
1923:t
1916:v
1814:)
1800:.
1712:.
1678:.
1599:.
1245:.
709:.
519:.
511:(
355:(
20:)
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