Cuban President evaluates progress in housing program, Cuba works on a needle-free COVID-19 vaccine candidate, Cuba discusses on science, society and culture, Culmina Semana de la Cultura en Diez de Octubre, Tres de noviembre, Día del Archivero Cubano. In his canvases, surreal, phantom-like, spectral, vengeful, denunciatory, almost hallucinatory figures rose up, playing out their drama within exuberant vegetation where faun and flora blend and multiply. “I thought back to Europe being invaded by the Nazi army with great sadness... For me, seeing Europe had been everything. The completed painting of La Jungla captivated his friends. We develop outstanding leaders who team to deliver on our promises to all of our stakeholders. 1941 – 1946 Cuba, forced exile to the native land, Return to flamboyant nature (1941 – 1943), Upon their arrival, Lam reunited with his family – his mother, Serafina, and his sisters Eloísa, Teresa and Augustina. Forced to leave in 1938, Lam departed for Paris wherehe met Pablo Picasso and continued to experiment with avant-garde techniques, particularly inspired by ancient Greek and African art such as in Figure 1939 and Young Woman on a Light Green Background … In 1916, Lam moved to Havana to study law, a path that his family had thrust upon him. ", Learn how and when to remove this template message, Wifredo Lam." 'Somewhat Mystical' Themes, Mr. Lam's themes were ''somewhat mystical,'' according to Romare Bearden, the American artist, who knew him. This rich entourage filled Lam with inspiration as he continued to paint with fervor. He exhibits throughout the world and participates in major events of contemporary art of his time. Wifredo Lam was a highly respected artist during his lifetime, and to this day, his lithographs alone are worth thousands of dollars. Afterwards, he traveled to Europe on a scholarship, establishing his residence first in Spain, then in France. "Wifredo Lam: The Changing Image, Centennial Exhibition." Tate Modern presents a retrospective of the Cuban modernist painter, Wifredo Lam (1902–1982), the first museum exhibition in London since 1952. Cabrera, Carpentier and Guillén were convinced that the deported religion of African gods was one of the founding elements of Cuba's cultural identity and at the origin of “magic realism” – a concept Carpentier created around 1940, which defines the cultural specificity of the Hispanic American world, with its roots plunged in the primitive, in folklore and myth – the marvelous that infuses its popular culture but also the marvelous adopted by Surrealism. Since his death in 1982, Wifredo Lam has proven Picasso right when he said that he was a great painter and poet who was able to compete separately in a century already amply supplied with exceptional artists. During the 1960s, he worked beside Lucio Fontana and the Situationists, experimenting with new materials such as terracotta. Pierre Loeb and his family, who also spent the war years exiled on the island, were happy to reconnect with them. [1], In 1938, Lam moved to Paris. To further his goal, he often painted mask-like faces. In this way I could act as a Trojan horse that would spew forth hallucinating figures with the power to surprise, to disturb the dreams of the exploiters."[4]. Meanwhile, the maverick Russian violinist Jascha Heifetz joined the orchestra, giving Lam the occasion to meet him. He met Pierre Matisse for the first time who had come to Cuba to personally accompany Lam's paintings to New York. These include: The EY Exhibition: Paul Klee – Making Visible in 2013, The EY Exhibition: Late Turner – Painting Set Free in 2014, The EY Exhibition: Sonia Delaunay in 2015, and The EY Exhibition: The World Goes Pop alsoin 2015. Wifredo Lam was born and raised in Sagua La Grande, a village in the sugar farming province of Villa Clara, Cuba. He dramatically synthesized the Surrealist and Cubist strategies while incorporating the iconography and spirit of Afro-Cuban religion. ''These themes seemed to have been evolved through his experience in Cuba. ''The Jungle,'' a blend of European, Asian and African influences, hung at the Modern's old entrance on West 53d Street. [3], During the 1930s, Lam was exposed to a variety of influences. "The Cuban Painter Wifredo Lam." Museo de Bellas Artes, Caracas, May 8–22, 1955. Some will do it with music, others with literature, I with painting. ), exhibition catalogue, Centre Georges Pompidou, Paris, Museo Nacional Centro de Arte Reina Sofia, Madrid, Tate Modern, Londres, Editions du Centre Pompidou, Paris, 2015. The retrospective on Cuban painter Wifredo Lam (Sagua La Grande, 1902 – Paris, 1982), organised by the Centre Pompidou, Museo Reina Sofía and Tate Modern, acknowledges the common desire to consider modernity in all its complexity and endeavours to redefine Lam’s work inside a history of international art in which he stands as a key figure. RELATED EVENTSCurators’ Talk / Tour: The EY Exhibition: Wifredo Lam 19 September 2016 with Matthew Gale and 14 November with Katy Wan at 18.30–20.30, (tickets £20, concessions available) 19 September in the Starr Cinema, Tate Modern : / 14 November in the exhibition, Tate Modern on 19 September, curators Matthew Gale will touch  upon Lam’s relationships with artists and writers such as Pablo Picasso and André Breton. [1] He painted generic figures, creating the universal. "[1] Lam gained the approval of Picasso, whose encouragement has been said to have led Lam to search for his own interpretation of modernism.[4]. His first name was often given as Wifredo, without the ''l.'' Picasso also introduced him to Pierre Loeb, a Parisian art dealer; Loeb gave Lam his first exhibition at the Galerie Pierre Loeb in 1939, which received an enthusiastic response from critics. With regard to Picasso's exhibition, Lam said that it was "not only a revelation, but… a shock. He also became involved in the domain of music, becoming the Vice-President of Havana's Chamber Orchestra (Philharmonic orchestra), which invited the conductor Erich Kleiber to Cuba. After 18 years abroad and two forced exiles, Lam was disappointed to find corruption, racism and poverty in his homeland and responded by seeking out ‘Cubanness’, influenced by his friendships with contemporary thinkers and academics. On 14 November Katy Wan will host an hour-long tour of the exhibition.BSL Tour: The EY Exhibition: Wifredo Lam 7 October 2016 at 19.00–20.00 (Free) Tate Modern, in the exhibition This tour will explore Lam’s relationships with artists and writers such as Pablo Picasso and André Breton. This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996. [1] In Sagua La Grande, Lam was surrounded by many people of African descent; his family, like many others, practiced Catholicism alongside their African traditions. He renewed his contact with the tropics, which he breathed and penetrated, becoming one with it.”. "Lam" Centre d'Art Galerie, Port-au-Prince, Haïti, January 24–February 3, 1946. He returned to Cuba in 1940 and later, after visiting the United States, went back to Europe. In September 2016, Tate Modern will present a retrospective of the Cuban modernist painter, Wifredo Lam (1902–1982), the first museum exhibition in London since 1952. [1] His contact with African celebrations and spiritual practices proved to be his largest artistic influence. Like a lone soldier he set about painting the drama of his country, the cause and the spirit of the Blacks, their aspirations for liberty. Materials are provided. [1] His style was also distinctive because of its fusion of Surrealist and Cubist approaches with imagery and symbols from Santería. Later that year it was shown in an exhibition at the Pierre Matisse Gallery in New York, where it created controversy. However, he disliked both academic teaching and painting. "Lam métis." Yvan Goll had stayed with Guillén before meeting up with Breton in New York. "Wifredo Lam: a Sketch. Havana, Sep 11 (Prensa Latina) Cuba recalls on Friday the plastic artist Wifredo Lam, deemed the most universal of the country's painters, on his death anniversary, which occurred in 1982. Galerie Pierre, Paris. Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions. Por favor, introduce una respuesta en dígitos: Radio Metropolitana Todos los derechos Reservados, Cuba recalls Wifredo Lam on his death anniversary. "The Ey Exhibition: Lam, Eskil, Dolega-Ritter, Dorota, Tonneau-Ryckelynck, Dominique. Forced to leave in 1938, Lam departed for Paris wherehe met Pablo Picasso and continued to experiment with avant-garde techniques, particularly inspired by ancient Greek and African art such as in Figure 1939 and Young Woman on a Light Green Background 1938. In 1946, he and Breton spent four months in Haiti. "The Drawings of Wifredo Lam: 1940–1955. "Wifredo Lam in North America," Haggerty Museum of Art, Marquette University, Milwaukee October 11, 2007–January 21, 2008. Cuba Counterpoints, Dec 1, 2016, "Centro de Arte Contemporáneo Wifredo Lam", Ediciones Vanguardia Cubana. Throughout his career, Lam received important awards and recognitions from prestigious institutions such as the Guggenheim International Award, and the Kunsthalle in Basel, the Kestner-Gesellschaft in Hannover, the Moderna Museet in Stockholm, and the Palais des Beaux-Arts in Brussels. Yokohama Museum of Art, Yokohama, October 2002–January 2003. When I came back to Cuba, I was taken aback by its nature, by the traditions of the Blacks, and by the transculturation of its African and Catholic religions. Lam thus renewed his ties to the myths and rituals of his godmother Antonica Wilson. While Cuban culture and mythology permeated his work, it dealt with the nature of man and therefore was wholly relatable to non-Cubans. See the article in its original context from. He sought to describe the reality of his people through the powerful work and gained acclaim and fame for doing so. On their way back, Mabille and Loeb invited Lam to accompany them to Santería and Abakuas ceremonies (the Abakua brotherhood was formed in the 19th century by the Africans of Nigeria with the aim of penetrating the meaning of the mysterious language of the tam-tams). [1] Mainly working with gouache, Lam began producing stylized figures that appear to be influenced by Picasso. "Wifredo Lam." He began to reconnect with a past he thought had disappeared and managed to reconstitute a fluctuating core of friends, acquaintances from the past and other exiles from Europe who arrived before him: Carlos Enríquez, Mario Carreño, currently a teacher at the San Alejandro, Nicolas Guillén, Manuel Altolaguirre and Alejo Carpentier, whom Lam would see frequently; and on their way to Mexico, Remedios Varo and Benjamin Péret who spent the autumn in Cuba. [1], While Lam began simplifying his forms before he came into contact with Picasso's work, it is apparent that Picasso had a significant impact on him. Afterwards, he traveled to Europe on a scholarship, establishing his residence first October 2–15, 1950. He held the belief that society focused too much on the individual and sought to show humanity as a whole in his artwork. [4] At the outbreak of the Spanish Civil War, he sided with the Republicans and used his talent to fashion Republican posters and propaganda. For press information contact Emma.Double@tate.org.uk or Cecily.Carbone@tate.org.uk or call +44(0)20 7887 4942/8731. NOTES TO EDITORSTHE EY EXHIBITIONThe EY Exhibition: Wifredo Lamis part of a six year arts partnership between EY and Tate. As a Latin American artist of Chinese, Spanish and African heritage, Lam lies between East and West, combining traditional practices, surrealist ideas and complete originality. June 30 – July 14, 1939. TimesMachine is an exclusive benefit for home delivery and digital subscribers. It reflected his mature style, depicting four figures with mask-like heads, half-emerging from dense tropical vegetation. Though the drawings he created in Marseille between 1940 and 1941 are known as the Fata Morgana suite, only about three inspired the illustrations for the poem.

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