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LUIS MARTÍNEZ PEDRO (Havana, Cuba, 1910- 1989).Untitled, 1948.Mixed media on cardboard.Enclosed
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Description
LUIS MARTÍNEZ PEDRO (Havana, Cuba, 1910- 1989).
Untitled, 1948.
Mixed media on cardboard.
Enclosed certificate by Norma Ménendez Cruz.
Signed and dated in the lower right area.
Measurements: 92 x 75,5 cm; 114 x 95 cm (frame).
In this work it is possible to appreciate aesthetically an artistic style that starts from the avant-garde evolved towards a personal idiosyncrasy of the artist. The Cuban school of the 20th century was characterised by its acceptance of the European avant-garde and the development of its own language on that basis. This generalised current of artists trained in Europe, who returned to Cuba, gave the country a great artistic impulse. Thanks to painters who fused their roots and experiences, thus creating a new personal and independent language.
Luis Martínez Pedro, is one of the leading figures in Cuban painting, a benchmark of a school that became international thanks to his work and his collaboration with other Cuban artists such as Rene Portocarrero and Amelia Peláez. In 1929 Martínez Pedro began his artistic training by studying architecture at the San Alejandro School in Havana, but he quickly abandoned his studies. A year later, due to the political situation in his country, he moved to the United States, where he began to study at Tulane University, and from 1932 at the Tulane Art and Crafts School, where he specialised in design. When the Machado dictatorship fell in Cuba, Martínez returned to his native country where he began working for the advertising agency Mestre y compañía. In 1937 he held his first exhibition at the city's Centro de Dependientes, and it was from then on that he began to forge links with the city's artists. In 1943 he held his first individual exhibition at the Lyceum Lawn Tennis Club. During this period Martínez worked both in his art and in publications such as the magazine Orígenes, as well as being president of the Asociación de Pintores y Escultores de Cuba (Association of Cuban Painters and Sculptors). In 1948 he also founded the organisation Técnica Publicitaria Latinoamericana. Years later, after his trip to South America, he came into contact with concrete art, a trend to which he adhered, coming into contact with Sandu Darie, with whom he formed part of the artists who made up the group 10 Pintores Concretos (10 Concrete Painters). In 1981 he was awarded the Félix Varela Order, the most important prize awarded by the Republic of Cuba. Today his work is part of numerous international private collections, as well as prestigious public collections such as the Cisneros Fontanls Art Foundation, the Museo de la Solidaridad Salvador Allende, and the Museo Nacional de Bellas Artes de Cuba.
Untitled, 1948.
Mixed media on cardboard.
Enclosed certificate by Norma Ménendez Cruz.
Signed and dated in the lower right area.
Measurements: 92 x 75,5 cm; 114 x 95 cm (frame).
In this work it is possible to appreciate aesthetically an artistic style that starts from the avant-garde evolved towards a personal idiosyncrasy of the artist. The Cuban school of the 20th century was characterised by its acceptance of the European avant-garde and the development of its own language on that basis. This generalised current of artists trained in Europe, who returned to Cuba, gave the country a great artistic impulse. Thanks to painters who fused their roots and experiences, thus creating a new personal and independent language.
Luis Martínez Pedro, is one of the leading figures in Cuban painting, a benchmark of a school that became international thanks to his work and his collaboration with other Cuban artists such as Rene Portocarrero and Amelia Peláez. In 1929 Martínez Pedro began his artistic training by studying architecture at the San Alejandro School in Havana, but he quickly abandoned his studies. A year later, due to the political situation in his country, he moved to the United States, where he began to study at Tulane University, and from 1932 at the Tulane Art and Crafts School, where he specialised in design. When the Machado dictatorship fell in Cuba, Martínez returned to his native country where he began working for the advertising agency Mestre y compañía. In 1937 he held his first exhibition at the city's Centro de Dependientes, and it was from then on that he began to forge links with the city's artists. In 1943 he held his first individual exhibition at the Lyceum Lawn Tennis Club. During this period Martínez worked both in his art and in publications such as the magazine Orígenes, as well as being president of the Asociación de Pintores y Escultores de Cuba (Association of Cuban Painters and Sculptors). In 1948 he also founded the organisation Técnica Publicitaria Latinoamericana. Years later, after his trip to South America, he came into contact with concrete art, a trend to which he adhered, coming into contact with Sandu Darie, with whom he formed part of the artists who made up the group 10 Pintores Concretos (10 Concrete Painters). In 1981 he was awarded the Félix Varela Order, the most important prize awarded by the Republic of Cuba. Today his work is part of numerous international private collections, as well as prestigious public collections such as the Cisneros Fontanls Art Foundation, the Museo de la Solidaridad Salvador Allende, and the Museo Nacional de Bellas Artes de Cuba.
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LUIS MARTÍNEZ PEDRO (Havana, Cuba, 1910- 1989).
Untitled, 1948.
Mixed media on cardboard.
Enclosed certificate by Norma Ménendez Cruz.
Signed and dated in the lower right area.
Measurements: 92 x 75,5 cm; 114 x 95 cm (frame).
In this work it is possible to appreciate aesthetically an artistic style that starts from the avant-garde evolved towards a personal idiosyncrasy of the artist. The Cuban school of the 20th century was characterised by its acceptance of the European avant-garde and the development of its own language on that basis. This generalised current of artists trained in Europe, who returned to Cuba, gave the country a great artistic impulse. Thanks to painters who fused their roots and experiences, thus creating a new personal and independent language.
Luis Martínez Pedro, is one of the leading figures in Cuban painting, a benchmark of a school that became international thanks to his work and his collaboration with other Cuban artists such as Rene Portocarrero and Amelia Peláez. In 1929 Martínez Pedro began his artistic training by studying architecture at the San Alejandro School in Havana, but he quickly abandoned his studies. A year later, due to the political situation in his country, he moved to the United States, where he began to study at Tulane University, and from 1932 at the Tulane Art and Crafts School, where he specialised in design. When the Machado dictatorship fell in Cuba, Martínez returned to his native country where he began working for the advertising agency Mestre y compañía. In 1937 he held his first exhibition at the city's Centro de Dependientes, and it was from then on that he began to forge links with the city's artists. In 1943 he held his first individual exhibition at the Lyceum Lawn Tennis Club. During this period Martínez worked both in his art and in publications such as the magazine Orígenes, as well as being president of the Asociación de Pintores y Escultores de Cuba (Association of Cuban Painters and Sculptors). In 1948 he also founded the organisation Técnica Publicitaria Latinoamericana. Years later, after his trip to South America, he came into contact with concrete art, a trend to which he adhered, coming into contact with Sandu Darie, with whom he formed part of the artists who made up the group 10 Pintores Concretos (10 Concrete Painters). In 1981 he was awarded the Félix Varela Order, the most important prize awarded by the Republic of Cuba. Today his work is part of numerous international private collections, as well as prestigious public collections such as the Cisneros Fontanls Art Foundation, the Museo de la Solidaridad Salvador Allende, and the Museo Nacional de Bellas Artes de Cuba.
Untitled, 1948.
Mixed media on cardboard.
Enclosed certificate by Norma Ménendez Cruz.
Signed and dated in the lower right area.
Measurements: 92 x 75,5 cm; 114 x 95 cm (frame).
In this work it is possible to appreciate aesthetically an artistic style that starts from the avant-garde evolved towards a personal idiosyncrasy of the artist. The Cuban school of the 20th century was characterised by its acceptance of the European avant-garde and the development of its own language on that basis. This generalised current of artists trained in Europe, who returned to Cuba, gave the country a great artistic impulse. Thanks to painters who fused their roots and experiences, thus creating a new personal and independent language.
Luis Martínez Pedro, is one of the leading figures in Cuban painting, a benchmark of a school that became international thanks to his work and his collaboration with other Cuban artists such as Rene Portocarrero and Amelia Peláez. In 1929 Martínez Pedro began his artistic training by studying architecture at the San Alejandro School in Havana, but he quickly abandoned his studies. A year later, due to the political situation in his country, he moved to the United States, where he began to study at Tulane University, and from 1932 at the Tulane Art and Crafts School, where he specialised in design. When the Machado dictatorship fell in Cuba, Martínez returned to his native country where he began working for the advertising agency Mestre y compañía. In 1937 he held his first exhibition at the city's Centro de Dependientes, and it was from then on that he began to forge links with the city's artists. In 1943 he held his first individual exhibition at the Lyceum Lawn Tennis Club. During this period Martínez worked both in his art and in publications such as the magazine Orígenes, as well as being president of the Asociación de Pintores y Escultores de Cuba (Association of Cuban Painters and Sculptors). In 1948 he also founded the organisation Técnica Publicitaria Latinoamericana. Years later, after his trip to South America, he came into contact with concrete art, a trend to which he adhered, coming into contact with Sandu Darie, with whom he formed part of the artists who made up the group 10 Pintores Concretos (10 Concrete Painters). In 1981 he was awarded the Félix Varela Order, the most important prize awarded by the Republic of Cuba. Today his work is part of numerous international private collections, as well as prestigious public collections such as the Cisneros Fontanls Art Foundation, the Museo de la Solidaridad Salvador Allende, and the Museo Nacional de Bellas Artes de Cuba.
15th November - Contemporary & Acual Art
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