Wifredo Lam, Cuban painter known for his synthesis of Modernist aesthetics and Afro-Cuban imagery.
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]. And his figures are in large part inspired by the Orishas (divinities of nature from the Yoruba religion). This rich entourage filled Lam with inspiration as he continued to paint with fervor.
He reflected on the striking contrast between the frivolity of Havana's tourism and the miserable condition of the blacks in the countryside, for whom discrimination appeared to have worsened with Batista: âWhat I saw upon my return looked like Hell.â âAll the drama of the colonialism of my youth resurfaced in meâ.
1941 â 1946 Cuba, forced exile to the native land, Return to flamboyant nature (1941 â 1943), Upon their arrival, Lam reunited with his family â his mother, Serafina, and his sisters EloÃsa, Teresa and Augustina. 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. "Wifredo Lam Malerei, Vic Gentils Bildhauerei." This page was last edited on 7 October 2020, at 21:41. ), exhibition catalogue, Centre Georges Pompidou, Paris, Museo Nacional Centro de Arte Reina Sofia, Madrid, Tate Modern, Londres, Editions du Centre Pompidou, Paris, 2015.
While Cuban culture and mythology permeated his work, it dealt with the nature of man and therefore was wholly relatable to non-Cubans. 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.
Wifredo Lam travelled extensively, living on both sides of the Atlantic during periods of great political change.
Death became part of his world, never to leave it, an insistent presence within reality, soon evoked in the form of apparitions and the ghosts of the Spanish Civil War. Opened in 1983, the Wifredo Lam Center for Contemporary Art (in Spanish: Centro de Arte Contemporáneo Wifredo Lam) is a state-run gallery in tribute to Lam and located in Havana, Cuba. The exhibition is organised by the Centre Pompidou, Musée National d’Art Moderne, Paris, in collaboration with the Tate Modern and the Museo Nacional Centro de Arte Reina Sofía, Madrid. Lam studied at the Professional School of Painting and Sculpture, San Alejandro Academy, in this capital. "Wifredo Lam 1902–1982: Voyages entre caraïbes et avant-gardes," Musée des Beaux-Arts de Nantes, France, May 6–August 29, 2010. All rights reserved. He left for Madrid, Spain in the autumn of 1923 to further his art studies.
The London Gallery, London. Afterwards, he traveled to Europe on a scholarship, establishing his residence first in Spain, then in France.
Musée Campredon, Maison René Char, L'Isle sur la Sorgue, France, July 7–October 2, 2005.
His work, considered unique and a sample of African roots in contemporary art, is exhibited in the most important private and public galleries worldwide, and is the subject of repeated specialized studies that are still trying to reveal its essence. [5] In 1944, he married Helana Holzer, whom he divorced in 1950.
Ticket price includes entry to The EY Exhibition: Wifredo Lam. "[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 artistic activity expanded as he began experimenting with new techniques such as lithography. Upon Lam's return to Havana, he developed a new awareness of Afro-Cuban traditions. The exhibition reappraises Lam’s major works within the cultural and political context after he returned to Cuba in 1941. '', In an article this year in Black Arts, an international quarterly, Mr. Lam told Herbert Gentry why he painted: ''It's a way - my way of communicating between human beings.
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While in Marseille, Lam and Breton collaborated on the publication of Breton's poem Fata Morgana, which was illustrated by Lam. [1] Mainly working with gouache, Lam began producing stylized figures that appear to be influenced by Picasso. After the war, Wifredo Lam’s work will be internationally recognized. ", Learn how and when to remove this template message, Wifredo Lam."
This distinctive visual style of his also influences many artists. Kunsthalle, Basel, September 10–October 9, 1966; "Wifredo Lam.".
The work was sold as part of the Alain and Candice Fraiberger collection. November 20–December 8, 1945. Pierre Mabille, who was enjoying a brief stay on the island, compared the importance of Lamâs work to Paolo Uccello's discovery of perspective. Lam made a lithograph for the cover of Loeb's book Voyages à travers la peinture and to illustrate a poem by Yvan Goll â another European exile. In February, 1942, Lam and Helena moved into a large house surrounded by the luxuriant vegetation of its garden, giving him an ideal space to paint.
[8][9], In 2015 a retrospective exhibition of his works opened at the Centre Georges Pompidou in Paris, set to travel to the Reina Sofia Museum in Spain and the Tate Museum in London afterwards.[10]. Museo Nacional Centreo de Arte Reina Sofia, Madrid, September 29–December 14, 1992; Fundacio Miró, Barcelona, January, 21–March 21, 1993. Galerie Pierre, Paris.
We should undoubtedly add the dramatic loss of his young wife and son, both of whom died in 1931 from consumption. Dias Ramos, Afonso.
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By the end of his life, his success allowed him to establish homes in Italy and Sweden as well as in France. The slave, exiled without objects, had only the option of singing, dancing or recounting poems and fables, Exposition Pierre Matisse Gallery, New York, 1942, Lam in his studio, Havana, Cuba, 1943, (The Jungle), Copyright © 2011 - 2018 SDO Wifredo LAM. Lam studied at the Professional School of Painting and Sculpture, San Alejandro Academy, in this capital.
Lam, who continued to sympathize with the common man, exhibited a series of paintings at Havana University in 1955 to demonstrate his support for the students' protests against Batista's dictatorship.
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He hardly recognized his own country. London, Tate Modern Gallery (September 14, 2016–January 8, 2017). Lam maintained an epistolary relationship with his other friends, as promised. In an increasingly connected world, Lam’s work brings a historical perspective to contemporary issues.
RMN-GP ©Adagp, Paris.
"Wifredo Lam, gravuras," Caixa Cultural de Rio de Janeiro, Rio de Janeiro, October 22–January 3, 2010; Pinacoteca de Estado, São Paulo, February 27–May 2, 2010.
[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. A tall, gaunt, man whose full name was Wilfredo Oscar de la Concepcion Lam y Castilla, he was born in Sagua la Grande. See the article in its original context from. The Jungle was not, however, intended to describe the primitivism of Cuba. Including over 200 paintings, drawings, photographs and prints, the exhibition traces his six decade career from the 1920s to the 1970s, confirming his place at the centre of a cosmopolitan modernism. In other words, Lam's painting entered into resonance with the poetry of Césaire who called upon him to translate his Cahier d'un retour au pays natal into Spanish but Lam chose, instead, to entrust Lydia Cabrera with the task. Yokohama Museum of Art, Yokohama, October 2002–January 2003. 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 EnrÃquez, 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.
He often sought out the company of the Cuban poet and writer Virgilio Pinera, director of the review Poeta in 1942, the Cuban poet José Lezema Lima, founder of the review Nadie ParecÃa in 1941 and the soon to be review OrÃgenes (1944 â 1954) with José RodrÃguez Feo.
"Wifredo Lam." 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.
The EY Exhibition: Wifredo Lam is curated by Matthew Gale, Head of Displays, Tate Modern and Catherine David, General Curator, Centre Pompidou / Musée national d’art moderne, Pariswith Katy Wan, Assistant Curator, Tate Modern.
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