What 3 Periods of Art Are Included in Vanguard Art

Cuba

Cuban artists embraced European modernism and the early part of the 20th century saw growth in the Cuban Vanguardism movements.

Learning Objectives

Ascertain the Vanguadria, Modern Primitivism, and Naïve styles of Cuban art in the early 20th century

Cardinal Takeaways

Key Points

• Cuban art is a very diverse cultural blend of African, European, and Northward American design that reflects the diverse demographics of the isle.
• In the late 1920s, Modernism burst on the Cuban scene as role of the critical movement of national regeneration, which arose in opposition to American neo-colonial command, the dictatorship of Gerardo Machado, and the consequent economical crisis.
• The Vanguardia artists, who studied surrealism, cubism, and modernist primitivism in Paris, rejected the academic conventions of Cuba's national art academy and became increasingly political in their credo.
• Pioneers included Antonio Gattorno, Eduardo Abela, Fidelio Ponce de León, and Carlos Enríquez Gómez.
• Too influential to Cuban fine art was naïve art, recognized by its childlike freshness and amateurish qualities.

Key Terms

• cubism: An artistic motility in the early 20th century characterized by the depiction of natural forms equally geometric structures of planes.
• neo-colonial: The geopolitical practice of using capitalism, business globalization, and cultural imperialism to command another country.
• surrealism: An creative motility and an aesthetic philosophy that predates abstruse expressionism, and aims for the liberation of the mind by emphasizing the critical and imaginative powers of the subconscious.
• primitivism: A Western fine art movement that borrows visual forms from not-Western or prehistoric peoples, a practice which was central to the evolution of modern art.

Cuban Fine art

Cuban fine art is a very diverse cultural alloy of African, European, and Northward American artful influences that reflect the isle'due south demographics. Cuban artists embraced European modernism and the early part of the 20th century saw a growth in the Cuban Vanguardism movements, which were characterized by a mixture of modern artistic genres.

Some of the more celebrated 20th-century Cuban artists include Amelia Peláez (1896–1968), best known for a series of mural projects, and painter Wifredo Lam (1902–1982) who created a highly personal version of modern primitivism.

Untitled painting, by Amelia Pelaez: This 1947 Amelia Pelaez painting exemplifies her unique and vivid style.

Vanguardia

By the late 1920s, the Vanguardia artists had rejected the academic conventions of Cuba's national fine art academy. In their formative years, many had lived in Paris, where they studied and absorbed the tenets of surrealism, cubism, and modernist primitivism. They returned to Republic of cuba committed to new artistic innovation and keen to embrace the heritage of their island.

These artists became increasingly political in their ideology, viewing the rural poor as symbols of national identity in contrast to the ruling elite of post independence Cuba. Modernism burst on the Cuban scene equally office of the disquisitional movement of national regeneration, which arose in opposition to American neo-colonial command, the dictatorship of Gerardo Machado, and the consequent economic crisis.

Pioneers of the Vanguardia movement include Antonio Gattorno, Eduardo Abela, Fidelio Ponce de León, and Carlos Enríquez Gómez. Gattorno'southward oil painting The Siesta represents the starting point of the surrealist bicycle.

Built-in around the plough of the century, these artists grew up in turmoil of amalgam a new nation and reached maturity when Cubans were engaged in discovering and inventing a national identity. They fully shared in the sense of confidence, renovation, and nationalism that characterized Cuban progressive intellectuals in the 2nd quarter of the twentieth century.

Modernistic Primitivism

Antonio Gattorno and Eduardo Abela were the earliest painters of their generation to arrange mod European and Mexican art to the interpretation of their Cuban subjects. They also establish in the directness and idealization of early on Renaissance painting an constructive model for their expression of Cuban themes.

These painters' images, for all their differences, shared a modern primitivism view of Cuba as an exotic, timeless, and rural land, inhabited past simple and sensual, if as well sad and melancholic, people. Although rooted in Cuba's natural and cultural surround, the vision of lo cubano (the Cuban) was far removed from contemporary historical reality.

Instead it was based on an ideal conception of patria that had been a component of Cuban nationalism and art since the nineteenth century. The emphasis that Enríquez and Ponce placed on the themes of change, transformation, and death have had an enduring impact on Cuban art.

Naïve Art

Co-ordinate to European and North American Art critics, Naïve art is commonly characterized past its childlike freshness and amateurish qualities. Artists who piece of work in this style are generally acknowledged as favoring a more primitive or folk style of fine art. The term naïve itself can be problematic, since it ordinarily means that an artist is self-taught—it has been used in the past by academic artists or critics as a derogatory term, since naïve artists tend to ignore the bones rules of fine art, especially those regarding perspective.

In spite of ignoring these bookish conventions, naïve artists are more often than not quite sophisticated in their personal forms of artistic expression. The colors used in Cuban naïve art are especially brilliant, with artists using the vibrant colors of its tropical home.

Naïve art offers an idealized view of rural life, spiritual references to both Catholicism and Santeria'due south Orichas (deities), legends, and other aspects of Afro-Cuban culture—by and present. This naïve fashion of art portrays the typical Cuban worldview of the enjoyment of life despite its hardships.

Cuban Fine art Subsequently 1930

The masters of the get-go generation of Cuban modernism set the stage for the prevalence of sure themes that would govern Cuban art subsequently 1930, and which would have varying degrees of impact on those generations that would later on sally entirely in exile afterwards 1960.

Between 1934 and 1940, and withal reeling from the overthrow of President Machado, Cuba was searching for its cultural identity in its European and African roots. The landscape, flora, creature, and lore of the isle, besides as its peasants—the often neglected foundation of Cuba'southward soul and economy—emerged in its fine art.

Modern Cuban artists keep to create significant work in this tradition, including Juan Ramón Valdés Gómez (called Yiki) and Jose Angel Toirac Batista.

President Geraldo Machado, 1871–1939: Geraldo Machado was president of Cuba from 1925 until he was overthrown in 1933.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/cuban-art/

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