Emilio Sanchez In New York And Latin America

This book focuses on the life and artistic activities of Emilio Sanchez (1921–1999) in New York, and Latin America in the 1940s and 1950s. More specifically, the book will consider Sanchez in the wider context of mid-century Cuban artists, and cross-cultural exchange between New York, Cuba, and the Caribbean. The book reflects on why Sanchez chose to be a mobile observer of the American and Caribbean vernacular at a time when such an approach seemed at odds with the mainstream avant-garde. The book includes a foreword by Dr. Ann Koll, former Executive Director/Curator of the Emilio Sanchez Foundation, and an introduction by Dr. Nathan J. Timpano, University of Miami Department of Art and Art History. This book will be of interest to scholars in modern art, Caribbean studies, architectural history, and Latin American and Hispanic studies.

- A selection of visually unique paintings, watercolors, drawings, and etchings by the 20th-century Cuban American artist Emilio Sanchez - A cabinet of wonders that include letters, photographs and ephemera associated with the life and work of Sanchez - A collection of works by friends and contemporaries of the artist from both Cuba and North America - A celebration of the US Postal Service's selection of Sanchez as part of their "Forever Series" of stamps - Includes provocative essays that challenge our understanding of Sanchez's role within 20th-century Cuban, and Latin American modern art Emilio Sanchez Fonts (1921-1999) was a Cuban American artist known for his architectural paintings, drawings, and graphic prints of New York, Latin America, and the Caribbean. As a realist artist, he was attracted to folklore and the vernacular, with architectural scenes of everyday life taking preference over the great historical narratives of western civilization. His keen eye and remarkable ability to edit incidental elements also made him a painter of dreamlike architectural enigmas, as if the buildings he depicted existed only in memory. Sanchez's work is in the permanent collections of many institutions, including the Metropolitan Museum of Art (New York), the Boston Museum of Fine Arts, the Brooklyn Museum of Art, the Hirshhorn Museum and Sculpture Garden (Washington DC), the Museo Nacional de Bellas Artes de La Habana (Havana), the Museo de Arte Moderno (Bogotá), and the Philadelphia Museum of Art. He received First Prize at the 1974 San Juan Biennial in, Puerto Rico, and was awarded the CINTAS Fellowship in the Visual Arts (1989-90). His remarkable story, like that of his tragic country, is a tale of powerful contrasts, intense light, and mysteriously penetrating shadows.

In-depth scholarship on the central artists, movements, and themes of Latin American art, from the Mexican revolution to the present A Companion to Modern and Contemporary Latin American and Latinx Art consists of over 30 never-before-published essays on the crucial historical and theoretical issues that have framed our understanding of art in Latin America. This book has a uniquely inclusive focus that includes both Spanish-speaking Caribbean and contemporary Latinx art in the United States. Influential critics of the 20th century are also covered, with an emphasis on their effect on the development of artistic movements. By providing in-depth explorations of central artists and issues, alongside cross-references to illustrations in major textbooks, this volume provides an excellent complement to wider surveys of Latin American and Latinx art. Readers will engage with the latest scholarship on each of five distinct historical periods, plus broader theoretical and historical trends that continue to influence how we understand Latinx, Indigenous, and Latin American art today. The book’s areas of focus include: The development of avant-garde art in the urban centers of Latin America from 1910-1945 The rise of abstraction during the Cold War and the internationalization of Latin American art from 1945-1959 The influence of the political upheavals of the 1960s on art and art theory in Latin America The rise of conceptual art as a response to dictatorship and social violence in the 1970s and 1980s The contemporary era of neoliberalism and globalization in Latin American and Latino Art, 1990-2010 With its comprehensive approach and informative structure, A Companion to Modern and Contemporary Latin American and Latinx Art is an excellent resource for advanced students in Latin American culture and art. It is also a valuable reference for aspiring scholars in the field.

Arranged in alphabetical order, these 5 volumes encompass the history of the cultural development of America with over 2300 entries.

In the 20th century, modern architecture thrived in Cuba and a wealth of buildings was realized prior to the revolution 1959 and in its wake. The designs comprise luxurious nightclubs and stylish hotels, sports facilities, elegant private homes and apartment complexes. Drawing on the vernacular, their architects defined a way to be modern and Cuban at the same time – creating an architecture oscillating between tradition and avantgarde. Audacious concrete shells, curving ramps, elegant brises-soleils and a fluidity of interior and exterior spaces are characteristic of an airy, often colorful architecture well-suited to life in the tropics. New photographs and drawings were specially prepared for this publication. A biographical survey portraits the 40 most important Cuban architects of the era.

The mid-twentieth century saw a change in paradigms of art history: iconology. The main claim of this novel trend in art history was that renowned Renaissance artists (such as Botticelli, Leonardo, or Michelangelo) created imaginative syntheses between their art and contemporary cosmology, philosophy, theology, and magic. The Neoplatonism in the books by Marsilio Ficino and Giovanni Pico della Mirandola became widely acknowledged for its lasting influence on art. It thus became common knowledge that Renaissance artists were not exclusively concerned with problems intrinsic to their work but that their artifacts encompassed a much larger intellectual and cultural horizon. This volume brings together historians concerned with the history of their own discipline – and also those whose research is on the art and culture of the Italian Renaissance itself – with historians from a wide variety of specialist fields, in order to engage with the contested field of iconology. The book will be of interest to scholars working in art history, Renaissance history, Renaissance studies, historiography, philosophy, theology, gender studies, and literature.

This book examines the art of Cobra, a network of poets and artists from Copenhagen, Brussels, and Amsterdam (1948–1951). Although the name stood for the organizers’ home cities, the Cobra artists hailed from countries in Europe, Africa, and the United States. This book investigates how a group of struggling young artists attempted to reinvent the international avant-garde after the devastation of the Second World War, to create artistic experiments capable of facing the challenges of postwar society. It explores how Cobra’s experimental, often collective art works and publications relate to broader debates in Europe about the use of images to commemorate violent events, the possibility of free expression in an art world constrained by Cold War politics, the breakdown of primitivism in an era of colonial independence movements, and the importance of spontaneity in a society increasingly dominated by the mass media. This book will be of interest to scholars in art history, 20th-century modern art, avant-garde arts, and European history.