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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

Women Not Successful Here

Women Not Successful Here

Cuban Women Artists, from San Alejandro to the Vanguardia

Chapter:
(p.98) 6 Women Not Successful Here
Source:
Picturing Cuba
Author(s):

Carol Damian

Publisher:
University Press of Florida
DOI:10.5744/florida/9781683400905.003.0007

Art historian Carol Damian laments the scarcity of Cuban women artists from the early nineteenth century to the mid-twentieth century. Damian explains that this trend was based on both women’s traditional exclusion from art academies and exhibition circuits and difficulties in traveling abroad and establishing their own studios. Yet she documents the work of eight major women artists during the first half of the twentieth century in Cuba, including Mirta Cerra and Gina Pellón. Most of these artists were associated with the San Alejandro Academy of Fine Arts in Havana, participated in numerous exhibitions, and received critical acclaim during their lifetime. However, most critics now neglect them—except for Amelia Peláez—in favor of the canonized male leaders of the Cuban vanguardia. Damian concludes with a call for further research and reflection on the careers of lesser-known female figures and their contributions to Cuban art before and after the country’s independence in 1902.

Keywords:   Women artists, San Alejandro Academy of Fine Arts, Mirta Cerra, Gina Pellón, Amelia Peláez

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