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JOSÉ MARÍA MIJARES (Havana, Cuba, 1921 - Miami, USA, 2004).Untitled, circa 1959.Oil on wood.Attached
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Description
JOSÉ MARÍA MIJARES (Havana, Cuba, 1921 - Miami, USA, 2004).
Untitled, circa 1959.
Oil on wood.
Attached certificate issued by María Cabrera Mijares, widow of the artist.
Damage to the frame.
Needs cleaning.
Signed in the lower right corner.
Measurements: 80 x 100 cm; 85 x 105 cm (frame).
The year 1959 is the time when Mijares began his work as a teacher at the San Alejandro School of Fine Arts. Mijares's artistic production oscillated between a more figurative trend and an abstract one in which he developed concepts typical of kineticism and neoplasticism. However, these compositions acquired the idiosyncrasy of the artist, who endowed them with exceptional colour. The work reflects an aesthetic language that reflects various avant-garde movements and the translation of the history of art. From a new perspective in which the aesthetic transgression at the hands of José María Mijares means the creation of an image with its own language and personality. Through the use of colour, the work offers the spectator a new vitalist aesthetic that merges with a technique close to geometric abstraction that extends over the whole piece in an apparently random way. However, compositionally the artist has managed to create a completely harmonious image where the mastery of colour and technique achieve an expressive, vitalist and dynamic image that captures and creates a dialogue with the viewer.
Mijares studied at the Escuela Nacional de Bellas Artes San Alejandro in Havana, where he taught. He was a member of the group Diez Pintores Concretos. Between 1968 and 1973 he was a member of the Grupo Gala in Miami, where he settled at the age of 47. He edited the magazine Alacrán Azul in Miami. He held his first exhibition at the Liceo in Havana (1947). In the 1980s he exhibited in Coral Gables, Florida, where he reiterated his presence. In 1994 the Cuban Museum of Art and Culture in Miami dedicated a retrospective to him. The Alfredo Martínez Gallery in Coral Gables also organised an ontological exhibition in 1996. As for group exhibitions, he participated in the Venice Biennale in 1952. He is represented at the Cintas Foundation in New York, the Lowe Art Museum, Florida, the Museum of Modern Art of Latin America in Washington, and the Museum of Modern Art in New York. Mijares' well-deserved recognition came above all for his ability to harmonise his universal vocation with the search for an autochthonous Cuban language. In this composition, he starts from a colourist post-Cubism through which he practically delves into abstraction, but without losing the referential thread. A preened female figure is still recognisable, as in his "habaneras", but she has been stripped of her personal features, her body being transformed into a set of gears that animate a beautiful and elegant automaton.
Untitled, circa 1959.
Oil on wood.
Attached certificate issued by María Cabrera Mijares, widow of the artist.
Damage to the frame.
Needs cleaning.
Signed in the lower right corner.
Measurements: 80 x 100 cm; 85 x 105 cm (frame).
The year 1959 is the time when Mijares began his work as a teacher at the San Alejandro School of Fine Arts. Mijares's artistic production oscillated between a more figurative trend and an abstract one in which he developed concepts typical of kineticism and neoplasticism. However, these compositions acquired the idiosyncrasy of the artist, who endowed them with exceptional colour. The work reflects an aesthetic language that reflects various avant-garde movements and the translation of the history of art. From a new perspective in which the aesthetic transgression at the hands of José María Mijares means the creation of an image with its own language and personality. Through the use of colour, the work offers the spectator a new vitalist aesthetic that merges with a technique close to geometric abstraction that extends over the whole piece in an apparently random way. However, compositionally the artist has managed to create a completely harmonious image where the mastery of colour and technique achieve an expressive, vitalist and dynamic image that captures and creates a dialogue with the viewer.
Mijares studied at the Escuela Nacional de Bellas Artes San Alejandro in Havana, where he taught. He was a member of the group Diez Pintores Concretos. Between 1968 and 1973 he was a member of the Grupo Gala in Miami, where he settled at the age of 47. He edited the magazine Alacrán Azul in Miami. He held his first exhibition at the Liceo in Havana (1947). In the 1980s he exhibited in Coral Gables, Florida, where he reiterated his presence. In 1994 the Cuban Museum of Art and Culture in Miami dedicated a retrospective to him. The Alfredo Martínez Gallery in Coral Gables also organised an ontological exhibition in 1996. As for group exhibitions, he participated in the Venice Biennale in 1952. He is represented at the Cintas Foundation in New York, the Lowe Art Museum, Florida, the Museum of Modern Art of Latin America in Washington, and the Museum of Modern Art in New York. Mijares' well-deserved recognition came above all for his ability to harmonise his universal vocation with the search for an autochthonous Cuban language. In this composition, he starts from a colourist post-Cubism through which he practically delves into abstraction, but without losing the referential thread. A preened female figure is still recognisable, as in his "habaneras", but she has been stripped of her personal features, her body being transformed into a set of gears that animate a beautiful and elegant automaton.
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JOSÉ MARÍA MIJARES (Havana, Cuba, 1921 - Miami, USA, 2004).
Untitled, circa 1959.
Oil on wood.
Attached certificate issued by María Cabrera Mijares, widow of the artist.
Damage to the frame.
Needs cleaning.
Signed in the lower right corner.
Measurements: 80 x 100 cm; 85 x 105 cm (frame).
The year 1959 is the time when Mijares began his work as a teacher at the San Alejandro School of Fine Arts. Mijares's artistic production oscillated between a more figurative trend and an abstract one in which he developed concepts typical of kineticism and neoplasticism. However, these compositions acquired the idiosyncrasy of the artist, who endowed them with exceptional colour. The work reflects an aesthetic language that reflects various avant-garde movements and the translation of the history of art. From a new perspective in which the aesthetic transgression at the hands of José María Mijares means the creation of an image with its own language and personality. Through the use of colour, the work offers the spectator a new vitalist aesthetic that merges with a technique close to geometric abstraction that extends over the whole piece in an apparently random way. However, compositionally the artist has managed to create a completely harmonious image where the mastery of colour and technique achieve an expressive, vitalist and dynamic image that captures and creates a dialogue with the viewer.
Mijares studied at the Escuela Nacional de Bellas Artes San Alejandro in Havana, where he taught. He was a member of the group Diez Pintores Concretos. Between 1968 and 1973 he was a member of the Grupo Gala in Miami, where he settled at the age of 47. He edited the magazine Alacrán Azul in Miami. He held his first exhibition at the Liceo in Havana (1947). In the 1980s he exhibited in Coral Gables, Florida, where he reiterated his presence. In 1994 the Cuban Museum of Art and Culture in Miami dedicated a retrospective to him. The Alfredo Martínez Gallery in Coral Gables also organised an ontological exhibition in 1996. As for group exhibitions, he participated in the Venice Biennale in 1952. He is represented at the Cintas Foundation in New York, the Lowe Art Museum, Florida, the Museum of Modern Art of Latin America in Washington, and the Museum of Modern Art in New York. Mijares' well-deserved recognition came above all for his ability to harmonise his universal vocation with the search for an autochthonous Cuban language. In this composition, he starts from a colourist post-Cubism through which he practically delves into abstraction, but without losing the referential thread. A preened female figure is still recognisable, as in his "habaneras", but she has been stripped of her personal features, her body being transformed into a set of gears that animate a beautiful and elegant automaton.
Untitled, circa 1959.
Oil on wood.
Attached certificate issued by María Cabrera Mijares, widow of the artist.
Damage to the frame.
Needs cleaning.
Signed in the lower right corner.
Measurements: 80 x 100 cm; 85 x 105 cm (frame).
The year 1959 is the time when Mijares began his work as a teacher at the San Alejandro School of Fine Arts. Mijares's artistic production oscillated between a more figurative trend and an abstract one in which he developed concepts typical of kineticism and neoplasticism. However, these compositions acquired the idiosyncrasy of the artist, who endowed them with exceptional colour. The work reflects an aesthetic language that reflects various avant-garde movements and the translation of the history of art. From a new perspective in which the aesthetic transgression at the hands of José María Mijares means the creation of an image with its own language and personality. Through the use of colour, the work offers the spectator a new vitalist aesthetic that merges with a technique close to geometric abstraction that extends over the whole piece in an apparently random way. However, compositionally the artist has managed to create a completely harmonious image where the mastery of colour and technique achieve an expressive, vitalist and dynamic image that captures and creates a dialogue with the viewer.
Mijares studied at the Escuela Nacional de Bellas Artes San Alejandro in Havana, where he taught. He was a member of the group Diez Pintores Concretos. Between 1968 and 1973 he was a member of the Grupo Gala in Miami, where he settled at the age of 47. He edited the magazine Alacrán Azul in Miami. He held his first exhibition at the Liceo in Havana (1947). In the 1980s he exhibited in Coral Gables, Florida, where he reiterated his presence. In 1994 the Cuban Museum of Art and Culture in Miami dedicated a retrospective to him. The Alfredo Martínez Gallery in Coral Gables also organised an ontological exhibition in 1996. As for group exhibitions, he participated in the Venice Biennale in 1952. He is represented at the Cintas Foundation in New York, the Lowe Art Museum, Florida, the Museum of Modern Art of Latin America in Washington, and the Museum of Modern Art in New York. Mijares' well-deserved recognition came above all for his ability to harmonise his universal vocation with the search for an autochthonous Cuban language. In this composition, he starts from a colourist post-Cubism through which he practically delves into abstraction, but without losing the referential thread. A preened female figure is still recognisable, as in his "habaneras", but she has been stripped of her personal features, her body being transformed into a set of gears that animate a beautiful and elegant automaton.
15th November - Contemporary & Acual Art
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