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Picturing CubaArt, Culture, and Identity on the Island and in the Diaspora$
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Jorge Duany

Print publication date: 2019

Print ISBN-13: 9781683400905

Published to Florida Scholarship Online: May 2020

DOI: 10.5744/florida/9781683400905.001.0001

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PRINTED FROM FLORIDA SCHOLARSHIP ONLINE (www.florida.universitypressscholarship.com). (c) Copyright University Press of Florida, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in FLASO for personal use.date: 28 July 2021

The Cuban Avant-Garde and the International Art Community

The Cuban Avant-Garde and the International Art Community

Chapter:
(p.82) 5 The Cuban Avant-Garde and the International Art Community
Source:
Picturing Cuba
Author(s):

Ramón Cernuda

Publisher:
University Press of Florida
DOI:10.5744/florida/9781683400905.003.0006

Art collector Ramón Cernuda discusses how Cuban art was consolidated during the first half of the twentieth century, especially after the emergence of two generations of modern artists that are now considered the core of the vanguardia (also known as the Havana School). Cernuda notes that the international art market increasingly valued the work of Cuban artists such as Amelia Peláez, Víctor Manuel García, René Portocarrero, and Wifredo Lam. These artists appeared in numerous individual and collective exhibitions in major museums and private galleries, as well as in specialized art magazines and books. As Cernuda underlines, Cuban vanguardia painters reached a broad audience with Alfred Barr Jr.’s 1944 exhibition, Modern Cuban Painters, at the Museum of Modern Art (MoMA) in New York City. Ironically, the wide success of Cuban artists abroad led Cuban collectors to pay attention to them.

Keywords:   avant-garde, Vanguardia, School of Havana, Alfred Barr Jr., Modern Cuban painters, Amelia Peláez, Víctor Manuel García, René Portocarrero, Wifredo Lam, Museum of Modern Art (MoMA)

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