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 A Selection of Artworks for Expo Chicago 2012
Expo Chicago
The International Exposition of Contemporary/Modern Art and Design.
Navy Pier, Chicago, IL
Please Join us in BOOTH 518
Show Information:
Wednesday, September 19 | 4 pm - 9pm
Opening Reception (for VIP Pass holders)
Regular Fair Hours:
Thursday, September 20 | 11 am - 7 pm
Friday, September 21 | 11 am - 7 pm
Saturday, September 22 | 11 am - 7 pm
Sunday, September 23 | 12 pm - 6 pm
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Frida Kahlo
Aparador en una calle de Detroit
(Display Window in a Street of Detroit), 1931
signed and dated Frida Kahlo 1931 lower left
inscribed Aparador en una calle de Detroit lower right
oil on sheet metal
12 x 15 inches
Provenance:
Ing. Morillo Safa, Mexico City, Mexico; Mrs. Dolores Olmedo, Mexico City, Mexico; Mary-Anne Martin Fine Art, New York, NY; Robert Holmes Court Collection, Perth, Australia; Private Collection, Miami, FL
Exhibitions:
Frida Kahlo: Exposición Nacional de Homenaje, Mexico City, The Frida Kahlo Museum, Comité Organizador de los juegos de la XIX Olimpiada, 1970, no. 10, Mexico City, Sala Nacional Palacio de Bellas Arte, Instituto Nacional de Bellas Artes, September - November 1977, no. 13.
Frida Kahlo: 1910 - 1954 (January 13, 1978 - January 17, 1979) -
Chicago, Museum of Contemporary Art; La Jolla, Mandeville Art Gallery, University of California, San Diego at La Jolla
Phoenix, Phoenix Art Museum; Austin, University Art Museum, University of Texas at Austin
Houston, The Sarah Campbell Blaffer Gallery, University Houston
Purchase, Nueberger Museum, State University of New York, College at Purchase, no. 11.
Miami Currents: Linking Collection and Community, Miami, Miami Art Museum, Oct. 30, 2002 - March 2, 2003.
Frida Kahlo Exhibition, London, Tate Modern, June 9 - October 9, 2005, illustrated in the exhibition catalog, pg. 163.
Frida Kahlo y sus mundos, Ponce, Puerto Rico, Museo de Arte de Ponce, November 19, 2005 - March 26, 2006.
Frida Kahlo - Retrospektive-
Martin-Gropius-Bau, Berlin, April 30 - August 9, 2012
Bank Austria Kunstforum, Vienna, Austria, September 1 - December 5, 2010 and illustrated in the corresponding exhibition catalog on p. 99.
Literature:
Nancy Breslow, “Frida Kahlo: A Cry of Joy and Pain,” Americas, March 1980, p. 39.
Hayden Herrera, Frida: A Biography of Frida Kahlo, 1983, pgs. 150 - 152, illustrated.
Hayden Herrera, Frida Kahlo: The Paintings, 1991, pg. 94, illustrated.
Salomon Grimberg, Frida Kahlo, 1997, pg. 58, illustrated.
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Wifredo Lam
Femme Énigmatique
(Enigmatic Woman), 1970
oil on canvas
63 x 51 inches
This painting was exhibited in Wifredo Lam, Galerie Maeght Lelong, 1987, Zurich, Germany, and illustrated in the corresponding exhibition catalog, no. 9.
Also exhibited in Wifredo Lam, óleos, pasteles y aguafuertes, Galería Der Brücke, Buenos Aires, Argentina, and illustrated in the corresponding exhibition catalog, page 12.
This painting is illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Work, Volume II, 1961-1982, Acatos, Project Director: Eskil Lam, page 331, No. 70-34.
This painting is illustrated in the catalogue, Important Cuban Artworks, Volume Ten, Page 63
This painting is accompanied by a photo-certificate of authenticity signed by Lou Laurin Lam, dated January 22, 1992, No. 92-04.
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Fernando Botero
Gato
(Cat), ca 1992
bronze sculpture, 2/8
26 x 11 x 9 inches
Master Colombian painter and sculptor, Fernando Botero, is renowned for his inflated, robust and exaggerated figures. The artist’s work speaks to both human feelings and worldly pleasures. At times his figures are humorous. At other times, his compositions convey social and political subject matters embodied by symbols of power.
Both in his sculptures and paintings, Botero’s voluptious trademark is always present. His monumental sculptures have become very well known and popular due to the fact that they have been displayed in many important cities around the world and he has extensively exhibited in international museums and institutions. He is considered one of the most important living Latin American artists.
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Roberto Matta
El Interruptor
(The Interruptor), 1961
oil on canvas
32 x 39 ½ inches
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Wifredo lam
Mujer Sentada
(Seated Woman), 1944
oil on paper laid down on board
42 x 33 ¼ inches
This painting is illustrated in the catalogue, Important Cuban Artworks, Volume Six, Page 116
Illustrated in Wifredo Lam: Catalogue Raisonné of the Painted Word, Volume I, 1923-1960, Acatos, 1996, page 344, no. 44.17.
This artwork is illustrated on the cover of Guillermina Ramos Cruz, Lam y Mendive: Arte Afrocubano, 2009, Linkgua
This painting is accompanied by a photo-certificate of authenticity signed by Lou Laurin Lam.
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René Portocarrero
Muchacha de Perfil
(Young Lady in Profile), 1964
oil on canvas
33 x 22 ¾ inches
This painting was exhibited in the show René Portocarrero, Museo de Arte Moderno, May 1965, Bosque de Chapultepec, Mexico, and illustrated in the corresponding exhibition catalog, no. 6.
This painting was exhibited and sold at Christie’s New York, November 1994, Lot #160
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René Portocarrero
Vista de La Ciudad de La Habana
(View of the City of Havana), 1970
mixed media on heavy paper laid down on board
19 ¾ x 26 inches
Havana was René Portocarrero's natural habitat. If once - during his childhood years – El Cerro neighborhood defined his universe, the painter's coming of age marked his unfolding towards the confines of the capital city. We can say that if any Cuban seized Havana and, at the same time, the city claimed the painter its own, that was René Portocarrero. “Here are the hundred and more cities - let us be wary of the figures in the catalog - seized and captured by the Prodigious Magician, Don René Portocarrero. Are all of these perhaps just one?”, would note Eliseo Diego, friend of the painter and Originista as well, in comments written precisely for the exposition, Landscapes of Havana by René Portocarrero, University of Havana, October, 1978, L Gallery.
Roberto Fernández Retamar, earlier, in his words for the exhibition, Portocarrero: The Color of Cuba, May, 1963, Havana Gallery, had observed, “One city is not made with a compass upon paper: it is made by combining necessity with contingency, caprice with duty: the balcony from where you can view the sea, with the plaza of kisses; the contorted street with four hundred years of rain over a number of stones. This is how Havana has been crafted. And Portocarrero has painted it, bringing along with him its interiors, its stained glass windows, its gates, its cupolas, its skies. Havana has been sung by a poet with the certainty only a poet can express.”
Ramón Cernuda
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René Portocarrero
Retrato de Flora
(Portrait of Flora), 1970
gouache on heavy paper
laid down on board
27 ¾ x 20 ¾ inches
“Women, like the city, have been an obsessive subject matter in Portocarrero’s painting… Toward the beginning of the 1970’s, Portocarrero returns to the theme in a novel fashion, as a result of a strict discipline he had been developing in his human figures. The women are now facing forward. Their large, wide-open eyes are like their center of gravity. All reference to the exterior world is eluded. Monumental, divested of all ornamentation, they are reduced to an elemental structure: the ample base of the torso, the fine line of the neck, the oval of the face. They are contemporary women, aristocratic and refined, that the artist has seen in passing.”
Graziella Pogolotti and Ramón Vázquez Díaz, René Portocarrero, Editorial, Henschel, Berlin, 1987.
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Wifredo Lam
Mujer Caballo con Eleguas
(Femme Cheval with Eleguas), 1970
mixed media on heavy paper
laid down on board
27 3/4 x 19 1/2 inches
Provenance: Museum of Art Fort Lauderdale
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Gina Pellón
Planta Secreta
(Secret Plant), 2010
mixed media on canvas
40 x 32 inches
Gina works feverishly without pause – unstoppable even after the departure from life of almost all her colleagues of the exceptional group COBRA. Not even the biological absenteeism of her compatriot painters and sculptors, who once, in the decades of the 1960’s, 70’s and 80’s, integrated that talented colony of Cuban émigré artists in France, has slowed her down. Back then, it was the comradery of Joaquín Ferrer, Angel Acosta León, Jorge Camacho, Roberto García York, Agustín Cárdenas, Pérez Castaño, Agustín Fernández, Herrera Zapata, Ramón Alejandro and others. Now, time and destiny have plotted to leave us Gina to hold the flag of a glorious epoch of Cuban art in the Parisian diaspora.
Youth is never forever. Gina arrives at her late style of painting full of energy and enthusiasm. Her creations are freer and seem more spontaneous. The contours of her figures no longer contain, they merely suggest. The expressionism of the unbridled brushwork is loose of formality and devoid of restriction. The palette contributes color fields that clash and make peace. Inevitable destiny of neighbors.Femininity blushes in her canvases, through the feast of color. The sinuous line establish the coquettishly curvatures of her ladies. Women who exalt dignity and self-assurance in a world conquered via beauty and elegance, not by conflict and militancy.
Ramón Cernuda
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Servando Cabrera Moreno
El Espejo
(The Mirror), 1976
oil on canvas
44 x 34 ½ inches
This painting is illustrated in the catalogue, Important Cuban Artworks, Volume Ten, Page 71
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Carlos Enríquez
La Haitiana
(The Haitian Woman), 1945
oil on canvas board
19 ½ x 13 ¾ inches
This painting is illustrated in the catalogue, Important Cuban Artworks, Volume Ten, Page 24
Illustrated in the book, Cuban Art, Remembering Cuba Through its Art, 2004, Arte al Día Internacional, page 129.
Also illustrated in the book by Juan Martínez, Carlos Enríquez, The Painter of Cuban Ballads, 2010, page 188.
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Irina Elén González
Dama de los Mares
(Lady of the Seas), 2012
acrylic on canvas
39 x 31 ¾ inches
Irina Elén González was born in 1978 in Pinar del Río, Cuba, where she presently resides. She is a graduate of the Carlos Hidalgo Professional School of Visual Arts of Pinar del Río. Since 2006, she has been represented worldwide by Cernuda Arte.
The artist has presented one person exhibitions in Havana at the Casa Oswaldo Guayasamín, in 2005, and in Pinar del Río, at the Provincial Center of Visual Arts, in 2001.
Irina Elén has participated in ten international art fairs, and has been included in over twenty-five group exhibitions throughout her career. Her work has illustrated several children’s books and has appeared in various magazines. The artist has garnered multiple awards and honorable mentions in juried art competitions.
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Ramón Vázquez
En Busca del Amor
(Looking For Love), 2012
oil on canvas
78 ¾ x 29 ½ inches
Ramón Vázquez was born on February 29, 1972, in Viñales, Pinar del Río, Cuba. His studies in the plastic arts began at the Raúl Sánchez Vocational School of Art in Pinar del Río. In 1987, he entered the National School of Plastic Arts in Havana. He graduated in 1991 as a draftsman, painter and professor of Painting and Drawing. That same year he joined the Conjunto Artístico Integral de Montaña, for a period of two years. From 1993 through 1995, he worked as a specialist in the Art Gallery of Viñales. The artist currently resides and works in Viñales, Pinar del Río, Cuba.
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Reynier Ferrer
Ambigüedad
(Ambiguity), 2012
mixed media on canvas
71 x 39 ½ inches
Reynier Ferrer was born in Havana on August 17, 1979. He pursued his early studies at the School of Fine Arts at San Alejandro in his native city and, after four years of training, graduated from this institution in 2004. In that same year, he initiated and finalized complementary studies in the fine arts imparted by Spanish painter José Luis Fajardo at the Man and His Purlieus Studio. At present, he is a professional artist in Havana, Cuba
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Dayron González
La Última Marcha #6
(The Last March #6), 2012
mixed media on canvas
60 x 23 ¾ inches
“La Última Marcha #6 is to me the most devastating of this young artist’s recent works. It is a large vertical canvas executed in painterly abandon. Thousands of pioneros fill what looks like Havana’s Plaza de la Revolución. The children are kept within the space by two enormous walls on each side. In the far off background, a platform is visible. Speeches are probably being given. The sky – a violent mix of orange, white and pale blue – agitates the upper half of the painting, while the lower half is filled with pioneros who seem to be kept in by the walls. It appears to be raining, and the mass of uniformed children resemble a herd of penned-in cattle.”
Alejandro Anreus, Ph.D., Against Utopia: The Paintings of Dayron González, excerpt from Dayron González’ catalogue essay for his upcoming one person exhibition, The Children of My Class, October – November 2012 at Cernuda Arte.
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Miguel Florido
Déjame Amarte
(Let Me Love You), 2011
oil on canvas
71 x 51 ¼ inches
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Vicente Hernández
Elogio a la Palma
(Eulogy to the Palm), 2010
mixed media on canvas
20 ¾ x 9 ½ inches
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