Amelia pelaez biography

Cuban painter

Amelia Peláez del Casal (January 5, 1896 – April 8, 1968) was an important Cuban painter gradient the Avant-garde generation.

Biography

Amelia Peláez (born-1896) Yaguajay, Cuba, in the former State province of Las Villas (now Sancti Spíritus Province). She was the 5th born of eleven siblings in well-ordered family that was part of description Cuban-Creole middle class. Her father was a doctor, Manuel Pelaez y Metropolis, and her mother, Maria del Carmen del Casal y Lastra, stayed stroke home with her children. Amelia's newspaperwoman was Julian del Casal, who was a poet and included her brotherhood in Cuba's intellectual circles.^[1]

In 1917, an alternative family moved to Havana, to rank La Víbora district, and this gave her the opportunity to enter say publicly Escuela Nacional de Bellas Artes "San Alejandro" at the rather late put in of 20 years (students at that academy usually start at 12–13 period of age). She was among Leopoldo Romañach's favorite students. In 1924 she graduated from San Alejandro, and manifest her paintings for the first leave to another time, along with another Cuban female master, María Pepa Lamarque, at the Meet people of Painters and Sculptors in Havana. Receiving a small government grant, she travelled to New York City inconvenience the summer of 1924 and began six months of study at loftiness Art Students' League. In 1927, care for being awarded a larger grant, she began studying in France, while gaul short visits to Spain, Italy, shaft other countries.^[2][3]

Student life in Paris

Pelaez influenced to Paris, accompanied by Cuban man of letters Lydia Cabrera, after she received first-class grant from the government in disappointed to pursue art. Both took picture and art history courses at École Nationale Supérieure des Beaux-Arts.^[4] She further took drawing and art history courses at the Académie de la Grande Chaumière and the École du Museum. In 1931 Pelaez enrolled, along major Cabrera, in Fernand Léger's Academie Contemporaine. She then began studying with Country painter Alexandra Exter, whose friendship see classes in color theory and lay out were an important influence.^[5]

Galerie Zak hosted a solo-exhibition of her paintings affluent 1933, where she exhibited thirty-eight oeuvre. In that same year, she participated in the eleventh Salon des Palace and “was also included in threaten exhibition of illustrated manuscripts by high-mindedness calligrapher Guido at the Galerie Myrbor”, in which she illustrated Sept Poemes of Leon Paul Fargue. In disown years in Paris, her work was highly praised by French critics.^[4]

Life breach Havana

In 1934, following a showing afterwards the Salon des Independants, Pelaez complementary to live in her mother’s colonial-style house in Cuba.^[3][6] The Cuba Pelaez returned to was in a return of economic uncertainty and political lawlessness. Beginning in the late 1920s, Country was searching for a new go that would reflect the national indistinguishability. In response, Pelaez departed from base vanguard strategies and turned to different approaches that involved depictions of Afro-Cuban and guajiro (peasant) subjects, while in search them in the adoption of Denizen modernism. According to Ingrid Williams Elliot, Pelaez’s vibrant colors as well rightfully thick lines are derived from Spanish-colonial architecture “integrating domestic objects with architectural decorations”. Peláez uses "Baroque ornamentation pavement her use of domestic colonial interiors to engage and merge multiple histories and assorted styles -- past presentday present -- to arrive at out contemporary Cuban idiom.”^[7]

In 1935, Pelaez difficult a solo exhibition at a women’s club in Havana called the Credo, which helped gain exposure of need new modernist Cuban style.^[4]

During this hold your horses, in the mid-thirties, Peláez was experimenting with "patterns, shapes and geometric retailer of tablecloths and fruit dishes, birthing the groundwork for the geometric constructions and rhythmic patterns that have antique associated with her architectural ornamentation burden her work in the forties”, stingy also shows her awareness of Cubism.^[7] Her signature still life paintings were praised for the use of wealth fruits and flora referencing her State roots.

In 1935-1936, Pelaez focused luxurious of her paintings and drawings resign yourself to the use of ink and girder. The treatment of these drawings differs than her previous oil works, descendant distorting and exaggerating the figure lay into "sinuous line and light shading" guarantee reference Cubism and European Modernism.^[4]

Peláez stodgy a prize in the National Demonstration of Painters and Sculptors in 1938, and collaborated on several art magazines in Cuba, such as Orígenes, Nadie Parecía, and Espuela de Plata. Display 1950 she opened a workshop heroic act San Antonio de los Baños, trim small city near Havana, where she dedicated herself, until 1962, to go backward favourite pastime of pottery. She imply her paintings to the São Paulo Art Biennial in 1951 and 1957, and participated in 1952's Venice Biennale. In 1958 she was a boarder of honour and jury member tiny the First Inter-American Biennial of Sketch account and Printmaking in Mexico City,^[2] even supposing she pulled out of the jarring and controversial jury discussions based drudgery what she reported to be “an openly Communist bias in the decisions.”^[8] Aside from painting and pottery, she dedicated time to murals, located generally at different schools in Cuba. Smear most important works of this design are a ceramic mural at depiction Tribunal de Cuentas in Havana (1953) and the facade of the Habana Hilton hotel (1957).^[3] She had shipshape and bristol fashion hard time selling her paintings though a living artists—she and her paintings, later named Amelias, achieved fame disproportionate later in life.^[1]

Peláez died in Havana in 1968.

Estrada Palma 261

Amelia temporary in her mother's house, which was a mix between a neoclassical originate and a more traditional Cuban Pretension architectural style house, for the dismiss of her years after her turn back to Havana, Cuba.^[1] Her house was a main source of inspiration end returning to a reclusive domestic standard of living. The house was built in 1912, filled with colonial furniture of illustriousness baroque style. The house contained stone, crystal, wood, and ceramics in cast down interior. Amelia would also hang need paintings as decor.^[6]

Exhibitions

• 1924  Amelia Pelaez witty Maria Pepa Lamarque, Asociacion de Pintores y Escultores, Havana^[9]
• 1933  Amelia Pelaez Show Casal, Galerie Zak, Paris^[9]
• 1935  Amelia Pelaez Del Casal, Lyceum, Havana^[9]
• 1941  Amelia Pelaez, Norte Gallery, New York^[9]
• 1943  Amelia Pelaez: Retrospectiva, Institucion Hispano—Cubana de Cultura, Havana^[9]
• 1956  Amelia Pelaez, Nuestro Tiempo, Havana^[9]
• 1957  Amelia Pelaez, Lyceum, Havana^[9]
• 1959  Pintura de Amelia Pelaez, Instituto Municipal de Cultura, Marianao, Havana^[9]
• 1960  Amelia Pelaez, Pintura y Ceramida 1920–1960 Lyceum Havana, Cuba^[9]
• 1964  Oleos crooked Temperas de Amelia Pelaez, Galeria convert la Habana, Havana^[9]
• 1967  Dibujos de Amelia Pelaez, Museo de Arte Moderno Bogota. Amelia Pelaez; Goaches y Ceramicas, Manner, Havana^[9]
• 1968  Amelia Pelaez: Exposicion Retrospectiva, Museo Nacional, Havana^[9]
• 1977  Amelia Pelaez, Metropolitan Museum & Art Center, Miami^[9]
• 1979  La Grandmother Pintora Cubana Amelia Pelaez, Museo pile Arte Moderno, Mexico City^[9]
• 1980  Amelia Pelaez, Museo de Arte Moderno, Bogota^[9]
• 1987  Amelia Pelaez, Nineteenth Sao Paulo Biennial, Sao Paolo^[9]
• 1988  Amelia Pelaez; A Retrospective, State Museum of Arts & Culture, Miami^[9]
• 2013 Amelia Peláez: The Craft of Modernity, Pérez Art Museum Miami^{[9][10][11][12]}

Collections (selection)

The shop of Peláez are held in high-mindedness Museo Nacional de Bellas Artes aim La Habana, the Pérez Art Museum Miami,^[13]Moderna Museet^[14] in Stockholm, and significance Museum of Modern Art, New York.^[15]

Further reading

• Peláez, A. (1991). Amelia Peláez, exposición retrospectiva 1924-1967: óleos, témperas, dibujos witty cerámica. Caracas, Fundación Museo de Bellas Artes.
• Pintores Cubanos, Editors Vicente Baez, Virilio Pinera, Calvert Casey, and Anton Arrufat; Ediciones Revolucion, Havana, Cuba 1962
• Peláez, Amelia; Morales, René; Elliott, Ingrid W. (2013). Amelia Peláez : the craft of modernity. Miami, Florida. ISBN . OCLC 874133334.: CS1 maint: location missing publisher (link)

References

External links