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Eduardo Abela
Art Cuba 1950
Cubanidad and criollismo in Abela
By: Ramon Güirao

Cubanidad and criollismo in Abela


Who contemplates to the fabrics of Abela of end of the years ´30, she knows that she is irremediably, by that rare virtue of the painter to fix the intimate association of the subjective objective and of the material used, before a painting criollísima and that also goes into a little in the alive heart of the same cubanidad.

The main work, in our opinion, of this generation of painters is, more than in its stammerings to express Creole sensitivity, in considering sincerely and I remove flesh the conflict, in confronting the responsibility with all the nakedness and transcendencia that it has.

When it appeared the negrismo, many of our artists thought that at the aim approaching the black and locating it in a landscape of Antillean flavor, they would arrive when medular, the definitive finding of the most praised/poured off Creole essence. One saw after the black one was too universal so that outside the point of gravitation of the Cuban soul. It was of course an important factor, one of the terms of the cubanidad, a rich fragment of color of the integral criollismo. Already clarified east point the young painters of Cuba oriented themselves towards the criollismo.

Abela is between first, the painter who moved geographically to offer therefore one more a more exact perspective to us of our rising plastic phenomenon. From Europe it predicted the danger to watch the Mexican fresquismo like index and map course of the American painting in general. It happened in Cuba, that the painters formed in Europe, without percartar itself that the French painting era also the shaken result of a dramatic one.

The urgent necessity is justified therefore to exceed a dangerous state of sensitivity, to break antecedent and complicity yet that disabled the formation of a new conscience in the painting.

Abela was watching alert of this anxiety, this flaming aesthetic order. It painted then from distant spot those right impressions of our fields, "inland". It exposed jointly in the best galleries of Paris with Pascini, Vlaminck, Picasso, Matisse, Kissling, Dufy, Severini, Derain, Chirico and other captains of great adventures.

From this moment, like a necessity to look for itself, Abela begins to close by observe the Creole, who acquires in his work the most remarkable resonance, his more complex and simple lyricism, his more definitive voice. To take the Creole contribution to the category that indicates Abela to it is of so worthy ejemplaridad, that solely resigning to all external and the adjective one, to all the elements that do not respond to this pure desire, it can be reached. He is a creator of poetic scopes, and can make us feel in all its intensity poetic of the life the farmer. In short, that human dimension that must have a work of lasting art.

Ramon Güirao,Art Cuba, 1950



 
 
 
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