337:. During the 1950s his health weakened, and he suffered several problems with broken bones, allegedly caused by his unregulated way of living. He is said to have had severe financial problems, for the same reason. He died on May 2, 1957, while painting in his study. That same day, a personal exposition was to be inaugurated (it was delayed a month after news of his death). His house in Havana is now a small museum with about 140 paintings by Enríquez, and a number of sketches and writings. The house also acts as the meeting place for a small organization of young Cuban artists, named
358:(1938), in which Enríquez includes some of the above named elements of his iconography: aggressive rural men, sensual mulatto women, restless horses, and windswept landscape of rolling hills. Its heated emotional subject of abduction and potential rape is not only depicted, but forcefully expressed through a personal visual language of pulsating and diaphanous color-forms. Enríquez's paintings are about ecstasy when they are not about violence, for in both themes he identified one of the fundamental characteristics of his latitudes-the strident, orgasmic, experience of finiteness.
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365:"My work is in a constant state of evolution towards the interpretation of images produced between vigilance and sleep, Nevertheless, I am not a surrealist. Currently, I am interested in interpreting the sensibility of a Cuban, American or continental atmosphere but removed from the methods of the European schools. To do otherwise would be like trying to resolve that which is ours with foreign formulas, for oriental art is as distant from my sensibility (though it may move me) as is the art of Picasso".
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The episode convinced Enríquez to return to the United States. After breaking up with Alice Neel, he returned to Cuba in 1930 with their daughter
Isabetta. That same year, another of his exhibitions was aborted due to the allegedly explicit content of his paintings. He again left Cuba, this time for
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Enríquez' signature visual language was mainly composed by fluid lines, overlapping color forms, transparencies and dynamic figure compositions. His works usually aimed at depicting the Cuban countryside's history, myths and folklore. Poor peasants, bandits, sensual women, restless horses, and
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approach to the stories and colors of the Cuban countryside. As with the other vanguardia artists, re-encountering his native land provided the catalyst for his mature style and his commitment to the expression of Cuban social realities and popular myths. One of his preoccupations as an artist
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in 1960), illustrated books, held conferences and exhibitions in several countries, wrote articles for various magazines, and continued to paint. He also received another prize in 1946's
National Exhibition for his painting
180:, where he took a short summer course. Due to differences with his professors he never finished the course, which was the only formal art education he ever received. He returned home the following year, with fellow painter
137:, and other masters of this period, he was involved in one of the most fertile moments in Cuban culture. He is considered by critics to be one of the best, and most original, Cuban artists of the 20th century.
148:, took inspiration from Cuba's landscapes, culture, social problems and way of living. He was also considered a rebel, and was often criticized for the allegedly explicit nature of his nudes, and for his
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concerned the expression of an authentic Cuban-Caribbean culture, which he believed was only to be found in the countryside, in its Creole people, myths, and legends. Enríquez's
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Enríquez was also an accomplished writer and illustrator. He published 3 books and a number of essays and articles. He also provided the illustration artwork for books by
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Enríquez' art started having wide recognition during his lifetime, currently his work is permanently displayed in the following museums and collections around the world:
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movement made its first steps, mainly thanks to this exhibition, and many of the artists that participated in it went on to become the leading lights of the movement.
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to the Cuban fields, it is said that Enríquez had a horse brought to his workshop, tied Sara Cheméndez (his female model at the time) to the horse and had the animal
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Cruz-Taura, Graciella, Fuentes-Perez, Ileana, and Pau-Llosa, Ricardo. Outside Cuba. New Jersey: Office of
Hispanic Arts Mason Gross School of the Arts, 1988: 44.
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A number of Enríquez' paintings and drawings are as well present in several private collections in Cuba, Latin
America, the United States and Europe.
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He also painted portraits and self-portraits, a large number of nudes, and a handful of still lifes. He described his work in the following manner:
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302:, in order to have a more realistic scene for the painting. The same year, he was again awarded a prize in the National Exhibition (for
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286:), in the Arroyo Naranjo district on the outskirts of Havana. This remained his home for the rest of his life. Here he painted
191:(Havana's stock exchange). In 1925 he participated in his first exposition, and in 1927 two of his nudes were removed from the
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in that it does not represent the guajiros as simple, calm, and noble, but rather as raw, violent, and restless. His painting
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164:, in the former Cuban province of Las Villas, on August 3, 1900 to a wealthy Cuban family, Carlos Enríquez received little
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was strongly influenced by some of the core ideas of modernist primitivism. His primitivism, however differs from that of
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Enriquez returned to Cuba in 1934, and began developing a new pictorial style, which became his trademark. He named it
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215:, currents that would radically influence his work. Some of his best works were produced in this period, including
603:, Editors Vicente Baez, Virilio Pinera, Calvert Casey, and Anton Arrufat; Ediciones Revolucion, Havana, Cuba 1962
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landscapes of palm trees and rolling hills were his common subjects. One of the foremost examples of Enríquez's
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Cuban Art & National
Identity: The Vanguardia Painters, 1927-1950; University Press of Florida, 1994;
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training, so his art would be considered to be largely self-taught. At a young age he transferred to
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Europe, mainly Spain and France, where he continued his painting career and came in contact with
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Soon after his return, he started painting professionally, while working as an accountant at the
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Martínez, Juan. Cuban Art and
National Identity. Florida: University Press Florida, 1994: 120
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after being deemed "exaggeratedly realistic". However, 1927 marks the year when the Cuban
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556:"Carlos Enríquez y el Hurón Azul | María Elena Balán/ Arca de cubania"
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Enríquez strived to develop a genuinely Cuban style that, while fueled by
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Portrait of Enríquez, painted in 1926 by
American expressionist artist
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to complete his bachelor studies, and in 1920 his parents sent him to
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In 1939 Enriquez bought a small bungalow, which he christened
484:"Carlos Enríquez, el controvertido artista cubano del pincel"
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558:. Rcadecubania.blogia.com. Archived from
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313:In the 1940s he wrote two more novels (
102:(August 3, 1900 – May 2, 1957), was a
223:(which is the patron saint of Cuba).
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292:The kidnapping of the Mulatto Women
354:and of his painting in general is
306:), and published his first novel,
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266:) received first prize in 1935's
531:"Sello: El rapto de las mulatas"
486:. Nnc.cubaweb.cu. Archived from
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632:20th-century Cuban male artists
422:Cuban Museum of Art and Culture
394:Museo Nacional de Bellas Artes
231:Abduction of the Mulatto Women
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184:, whom he married that year.
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241:(countryman's romance), a
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260:Rey de los Campos de Cuba
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428:The Newark Museum of Art
296:Rape of the Sabine Women
264:King of the Cuban Fields
233:; 1938, Carlos Enriquez.
16:Cuban artist (1900–1957)
416:Cuban Foundation Museum
356:El Rapto de las mulatas
333:His life was marked by
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304:El Rapto de las Mulatas
288:El Rapto de las Mulatas
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319:La Feria de Guaicanama
274:Rise to fame and death
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217:Bacteriological Spring
193:Exhibition of New Arts
430:, Newark, New Jersey.
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100:Carlos Enríquez Gómez
401:Museum of Modern Art
315:La Vuelta de Chencho
178:Pennsylvania Academy
117:movement (the Cuban
637:Cuban male painters
537:. Colnect.net. 2003
535:Catálogo de sellos
510:Martinez, Juan A.;
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189:Lonja del Comercio
113:and writer of the
352:romancero guajiro
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239:romancero guajiro
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21:Spanish name
622:1957 deaths
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452:Cuba portal
404:, New York.
381:Collections
156:Early years
152:lifestyle.
119:Avant-garde
111:illustrator
89:May 2, 1957
611:Categories
566:2010-05-14
541:2016-11-19
494:2010-05-14
471:References
339:Hurón Azúl
335:alcoholism
282:(the Blue
213:surrealism
201:Vanguardia
182:Alice Neel
142:surrealism
115:Vanguardia
70:1900-08-03
56:Alice Neel
412:, Havana.
243:modernist
146:modernism
438:See also
424:, Miami.
166:academic
160:Born in
150:bohemian
29:Enríquez
19:In this
162:Zulueta
107:painter
78:Zulueta
25:surname
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300:lashed
284:Ferret
197:Havana
170:Havana
80:, Cuba
345:Style
104:Cuban
33:Gómez
514:ISBN
373:and
317:and
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86:Died
64:Born
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