Exhibited in Cuban Art in the 20th Century, Cultural Identity and the International Avant Garde, Florida State University Museum of Fine Arts, Tallahassee, Florida, February 2016. An exhibition which was later travelled to the Coral Gables Museum, January 22 – April 23, 2017, and illustrated in the accompanying catalog, page 99.

Illustrated in Important Cuban Artworks Volume Nine, Cernuda Arte, Coral Gables, Florida, page 99.

Acquired by a Private Collector in Dallas, Texas.

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Exhibited in Sotheby’s New York, Latin American Art Sale, June 3 and 4, 1999 and illustrated in the accompanying catalog page 136, lot# 110.

Illustrated in Important Cuban Artworks Volume Sixteen, Cernuda Arte, Coral Gables, Florida, 2018, page 160.

Acquired by a Private Collector in Coral Gables, Florida.

Exhibited in Flora Fong & Li Domínguez Fong, The Mother, The Son: Two Artists, One Passion, Cernuda Arte, Coral Gables, Florida, Fall 2010, and illustrated in the accompanying exhibition catalog, page 16.

Acquired by a Private Collector in Orlando, Florida.

Illustrated in Important Cuban Artworks Volume Seventeen, Cernuda Arte, Coral Gables, Florida, 2019, page 126.

Acquired by a Private Collector in Fisher Island, Florida.

Provenance: Private Collection Caracas, Venezuela.

Provenance: Private Collection Caracas, Venezuela.

Provenance: Acquired directly from the artist.

Acquired by a Private Collector in Cumberland Foreside, Maine.

Gina Pellón (1926-2014) is a recognized master who first studied at the San Alejandro Academy in Havana, Cuba, from 1948 to 1954 and later continued her education in Paris where she lived from 1959 till her death in 2014. In Europe, Gina first exhibited with the surrealists and later connected with the avant-garde COBRA group. COBRA was an influential movement which splintered from the André Breton camp and was characterized by free-experimental expression, vibrant coloration and fantastic imagery.

Gina’s career in Europe and the U.S. was very prolific with over forty personal exhibitions and over one hundred group shows. She had two museum retrospectives, dozens of publications related to her artwork and received many distinguished awards. Among the accolades garnered are the Chevalier de l’Ordre des Arts et de Lettres, from the French government and the Cintas Foundation Fellowship, New York, USA. The artwork Silence (1981) was originally exhibited at Gina’s four-artist show at the Galerie Moderne in Denmark, the same year it was executed. In this painting, the artist deconstructs and then reassembles the female form in a spontaneous and anarchic way by placing and displacing elements that are consubstantial to the central figure. Her intention could have been to signal the viewer the internal tension provoked by the self-imposed silence, as expressed through the facial expression and tight lips of the woman. The frustration and anguish of such a condition generates a state of defiance emphasized by a set of big-open lips reappear on the lower right-hand side of the composition reinforcing Gina’s attitude toward the unjust. Gina’s unbridled feminism wins the day.

Illustrated in Important Cuban Artworks Volume Twelve, Cernuda Arte, Coral Gables, Florida, page 120.

Exhibited at Art Miami Fair, December 2-7, 2014, Cernuda Arte.

The oneiric surrealist character of this painting contrasts with the exquisitely realistic draftsmanship of the Renaissance attire that adorns Angelus Tropical, and the vain attitude of the coquettish European poodle. Irina Elén González, born 1971 and living in Cuba, draws from her vast arsenal of historic knowledge of the arts as she encapsulates the composition in an imaginary tropical jungle landscape, a recourse that brings to mind the French post-impressionist master Henri Rousseau. The self-assuredness of the female figure accentuates central themes in Irina’s body of work, her militant feminism and passion for detail.

Provenance: Acquired directly from the artist.

Giosvany Echevarría was born in Cuba in 1971. In 1986, he graduated from the Provincial School of Visual Arts in his province. Four years later, he completed graduate studies at the National School of Visual Arts in Havana. His hyper-realistic artwork has been exhibited in more than thirty group shows, including international venues and art fairs. Giosvany Echevarría has been represented by Cernuda Arte since 2005.

Giosvany’s renditions celebrate the majestic beauty of the Viñales Valley in the province of Pinar del Río, depicting its renowned mogotes (hillocks), rivers, streams and palm trees. Breathtaking sceneries unfurl with an artful blend of placid atmospheric mood and meticulous brushstrokes. His magnificent compositions clearly show the artist’s fascination with his surroundings and his mastery of the fine art of hyper-real landscape painting.

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Provenance: Acquired directly from the artist.

Vicente Hernández is a contrarian surrealist artist, born 1971, who applies the vocabulary of the absurd and the magnification of the contradictions of everyday life that surround him to formulate an imagined and uninhabitable dystopian society on the island of Cuba, where he resides. In this matrix, the obstinacy of mass migration, the feverish flight from a chaotic irrational universe, dominates everything else. The collapse of a modicum of civilization- as the center cannot hold- drives a multitude of characters by any means possible (or ridiculously imagined) towards the promised land in the far away horizon, a Nirvana depicted in the form of the skyline of Miami.

Provenance: Acquired directly from the artist.

Exhibited in Ismael Gómez Peralta, For Whom the Bells Cry, Cernuda Arte, Coral Gables, Florida, November-December 2005, and illustrated in the accompanying exhibition catalog, page n.n.

Acquired by a Private Collector in Miami, Florida.

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Provenance: Mario Amiguet Collection, Coral Gables, Florida.

Acquired by a Private Collector in Fisher Island, Florida.

PRICE UPON REQUEST

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Exhibited in Sosabravo, Hotel Inglaterra, Havana, Cuba, June 1996, illustrated in the corresponding exhibition catalog, page nn.

Acquired by a Private Collector in Dallas, Texas.

Provenance: Private Collection Caracas, Venezuela.

Provenance: Private Collection Caracas, Venezuela.

Provenance: Signed, dated, numbered and marked with the foundry’s identification, Fonderia Tesconi, Pietrasanta, Italy.

Exhibited in Cárdenas - sculptures récentes, Le Point Cardinal, Paris, France, May – July, 1973, and illustrated in the corresponding exhibition catalog, number 28.
Exhibited in Cárdenas, Fondation Nationale des Arts Graphiques et Plastiques, Paris, France, June – September, 1981, and illustrated in the exhibition catalogue, listed as number one.

Illustrated in the book La Sculpture de Cárdenas, La Connaisance, Brussels, 1971, number 28 (in the artist’s studio).
Illustrated in the book Cárdenas: Sculpture 1947-1997, SKIRA Editore, Milan, Italy, page 78.

Illustrated in Important Cuban Artworks Volume Seventeen, Cernuda Arte, Coral Gables, Florida, 2019, page 81.

Acquired by a Private Collector in Fisher Island, Florida.

Provenance: Acquired directly from the artist.

One of the most successful artists in contemporary Cuba, Juan Roberto Diago creates with oil paint, resins, asphalt, discarded wood, iron drums and recovered metals on canvases, papers and other support structures. His one focus is on the history and social reality of the black people from the times of slavery to the present. The artist deals with the pain, anger and frustrations of abuse, poverty, incarceration, alienation and discrimination that has flagellated his race for centuries.

In the recent past, Diago’s artistic career has been recognized with a one person retrospective exhibition at Harvard University’s Ethelbert Cooper Gallery, and the publication of the book Diago: The Pasts of this Afro-Cuban Present, by Professor Alejandro de la Fuente in 2017; a one person presentation at the Kennedy Center as part of the event, Artes de Cuba in 2018; a one person retrospective exhibition at the Lowe Museum of the University of Miami, Coral Gables, Florida, curated by Alejandro de la Fuente and Jill Deupi in 2019 and a nine-work presentation at the Fairfield University Museum, as part of the 2020 exhibition, Archives of Consciousness: Six Cuban Artists.

Provenance: Acquired directly from the artist.

Acquired by a Private Collector in New York, New York.

Exhibited in Out of Cuba, Sosabravo and Flora Fong, the Gulf Coast Museum of Art, Largo, Florida, March 5 – May 1, 2005, and illustrated in the accompanying exhibition catalog, page 22.

Acquired by a Private Collector in Ft. Lauderdale, Florida.

Born in Cuba, in 1972, Sandro de la Rosa has been represented exclusively by Cernuda Arte since 2002. As a faithful archetype of his generation, Sandro de La Rosa confronted the representational inertia and worries generated by the conceptual impetus of the eighties and its social repercussions to which he responded by incorporating formal aesthetics and a polished, academic technique into otherwise dreamlike, surreal renderings. He is a gifted draftsman of extraordinary skill and palette, an artist that has the pertinence and temperament necessary to be able to reach excellence. On his canvases, canons and styles of different eras, such as the Byzantine, Renaissance, Modern and Baroque, intermingle to compose a sort of collage, a scenography of estrangement, through which he allows –with great subtlety– a glimpse of some unequivocal sign of his immediate reality.

Provenance: Acquired directly from the artist.

Acquired by a Private Collector in Miami, Florida.

Provenance: Acquired directly from the artist.

This young emerging voice in the world of contemporary painting creates figurative and abstract compositions of profound psychological tension and energy. Danuel Méndez, born in Cuba, 1989, graduated from the prestigious San Alejandro Academy in 2010. In 2016 he arrived in Miami where he now lives.

The painting Where Freedom Begins (2020), is part of the “Lost in the Woods” series that Danuel initiated in 2019. In these depictions, the artist alludes to the challenges that post-modern information and internet age present to those who confront this futuristic lifestyle, unexpectedly and abruptly, without the benefits of a gradual incorporation to the social fabric of the advanced societies.

In this artwork the couple, in center stage, struggles to find a path amidst the dense foliage of wild vegetation. The thick and violently applied brushstrokes transmit a fearful, impenetrable and threatening climate where disorientation compounds the perils, while the solidarity of the couple towards each other exudes a glimmer of hope.