In the past few weeks, we’ve taken a close look at Cuban art in the 1940s, through Alejandro Anreus’s article on the 1944 MoMA exhibition Modern Cuban Painters and José Ramón Alonso Lorea’s article on Maria Luisa Gómez Mena and her Galería del Prado. Now, Alonso Lorea zeroes in on Gómez Mena’s role in the MoMA exhibition and the influential book that accompanied it.
Earlier this month, we presented Alejandro Anreus’s reflection on the 1944 MoMA exhibition Modern Cuban Painters. Now, historian José Ramón Alonso Lorea brings us a closer look at one of the most influential figures in Cuban art of the 1940s, and a prime mover behind the MoMA show: the little-known cultural patron and gallerist María Luisa Gómez Mena.
Last month, the Bildner Center for Western Hemisphere Studies presented a program on “Modern Cuban Art in New York: The MoMA Exhibition of 1944.” Alejandro Anreus, professor of art history and Latin American/Latino Studies at William Paterson University, led off with a talk about the exhibition, its genesis, and its impact on Cuban art.
At the Vero Beach Museum of Art, Cuban Art and Identity: 1900-1950 surveys painting from the first 50 years of the Cuban Republic—a time when many artists focused on defining lo cubano. In excerpts from his catalogue essay, curator Juan A. Martínez looks at the theme of music in the art of this era.
Cuban artist Amelia Peláez (1896-1968) is widely recognized as a master of 20th-century modernism in Latin America. A new exhibition at the Museo Nacional de Bellas Artes in Havana takes a comprehensive look at her career.