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Wilfredo lam the jungle

Continue This article needs additional quotes to verify. Please help improve this article by adding quotes to reliable sources. Non-sources of materials can be challenged and removed. Find sources: Wifredo Lam - News newspaper book scientist JSTOR (December 2019) (Learn how and when to delete this template message) Wifredo LamWifredo Lam (Jose Gomez- Sicre photo archive)BornWifredo Oscar de la Concepcion Lam y Castilla Decabra 8, 1902 (1902-12-08)Sagua La Grande, CubaDiedSeptember 11, 1982 (1982-09-12) (age 79)Paris, FranceNationalCuityBanKnown forPaintingable workThe Jungle (1943), Museum of Contemporary Art Collections. Wife (s) Eva Piriz (1929-1931; her death)Elena Holzer (1944-1950)Lou Laurin (1960-1982; his death, 3 sons)Children3AwardsGuggenheim International Prize Vifredo Lam, zambezia, zambezia, oil on canvas, 1950, Solomon R. Guggenheim Museum Wifredo Scar de la Concepcion Lahm y Castilla (Chinese: 林⾶⿓; Jyutping: lam4 fei1lung4; December 8, 1902 - September 11, 1982), better known as Wifredo Lam, was a Cuban artist who sought to portray and revive the enduring Afro-Cuban spirit and culture. Inspired and in contact with some of the most famous artists of the 20th century, including , , and , Lam merged his influences and created a unique style that was eventually characterized by the fame of hybrid figures. This distinctive visual style also affects many artists. Although he was predominantly an artist, he also worked with sculpture, ceramics and engraving in his later life. Early life Vifredo Lam was born and raised in Sagua La Grande, a village in the sugar province of Villa Clara, Cuba. He was of mixed descent: his mother, the former Ana Seraphina Castilla, was born to a Congolese former slave and the father of a Cuban mulatto, and his father, Yam Lam, was a Chinese immigrant. In Saua, La Grande Lam was surrounded by many people of African descent; his family, like many others, practiced Catholicism with its African traditions. Through his godmother, Matonica Wilson, the priestess of Santeria, whom local holidays celebrated as a healer and sorceress, he was subjected to the rites of African orish. His contact with African holidays and spiritual practices was his greatest artistic influence. In 1916, Lam moved to to study law, a path his family shoved on him. At the same time, he began to study tropical plants in the Botanical Garden. From 1918 to 1923, Lam studied painting at Esquela de Bellas Artes. However, he did not like both academic teaching and painting. In the autumn of 1923 he went to , Spain, to continue studying art. Career in Europe In 1923, Lam began his studies in Madrid under the guidance of Fernando Alvarez de Sotomayor and Saragosa, curator of the Prado Museum Salvador Dali. In the mornings he visited the studio of his conservative teacher, and in the evenings worked with young artists-nonconformists. In Prado he discovered and was awed by the work of Hieronymus Bosch and Peter Bruegel I. While the early paintings of Lam were in the modernist Spanish tradition, his works soon became more simplistic and decorative. Although his dislike of academic conservatism persisted, his time in Spain marked his technical development, in which he began to combine primitive aesthetics and traditions of Western composition. In 1929 he married Eva Piriz, but both she and their young son died of tuberculosis in 1931; it is likely that this personal tragedy contributed to the dark nature of his work. In the 1930s, Lam was exposed to various influences. The influence of was evident both in his work and in the work of Henri Matisse. Throughout Lama's journey through the Spanish countryside, he developed sympathy for Spanish peasants whose problems in some ways reflected the problems of the former slaves he grew up in Cuba. At the beginning of the , he sided with the Republicans and used his talent for fashion republican posters and propaganda. Designed to protect Madrid, Lam was incapacitated during the fighting in late 1937 and was sent to . There he met Helena Holzer, a German researcher, and the Catalan artist Manolo Hugue. Manolo gave Lamu an introductory letter that sparked his friendship with Picasso, whose work impressed and inspired Lama a year earlier when he saw an exhibition in Madrid. In 1938, Lam moved to Paris. He quickly received the support of Picasso, who introduced him to many of the leading artists of the time, such as Fernand Leger, Henri Matisse, George Braque and Joan Miro. Picasso also introduced him to Pierre Loeb, a Parisian art dealer; Loeb gave Lahm his first exhibition at the Pierre Loeb Gallery in 1939, which received a rapturous response from critics. Picasso and Lam also exhibited their work together at the Perls galleries in New York that same year. Lam's works went from showing Matisse's influence, seen in his natma, landscapes and simplified portraits, to the influence of . Mainly working with gouache, Lam began to produce stylized figures that appeared to be influenced by Picasso. Much of his work in 1938 had an emotional intensity; The subject ranged from interacting couples to women in despair and exhibited a much stronger African influence, seen in the angular outlines of shapes and the synthesis of their bodies. As for Picasso's exhibition, Lam said it was not only a revelation, Shock. Lam received the approval of Picasso, whose support is said to have led Lahm to seek his own interpretation of . With the outbreak of World War II and the German invasion of Paris, Lam left for , France, in 1940. There he was reunited with many intellectuals, including the surrealists with whom he had been associated since he met Andre Breton in 1939. While in Marseille, Lam and Breton collaborated on the publication of Breton's poem Fat Morgan, which was illustrated by Lam. Although the drawings he created in Marseille between 1940 and 1941 are known as Fat Morgan's suite, only about three inspired illustrations to the poem. In 1941, Breton, Lam and Claude Levi-Strauss, accompanied by many others, went to Martinique, but were imprisoned. Forty days later, Lam was released and allowed to go to Cuba, which he reached in mid-summer 1941. Years after Lam's return to Havana, he gained a new understanding of Afro-Cuban traditions. He noticed that the descendants of slaves were still oppressed and that Afro-Cuban culture had degraded and become picturesque for tourism. He believed that Cuba risked losing its African heritage and was therefore seeking to free it from cultural enslavement. In an interview with Max-Pol Fouchet, he said: I wanted to draw with all my heart the drama of my country, but fully expressing the negro spirit, the beauty of the plastic art of blacks. So I could act as a Trojan horse that would spew forward hallucination figures with the power to surprise, to violate the dreams of exploiters. In addition, his time in Cuba marked a rapid evolution of his style. Based on the study of tropical plants and familiarity with Afro-Cuban culture, his paintings were characterized by the presence of a hybrid figure - a part of man, part animal and part vegetative. His style was also confiscated due to the fusion of surreal and Cubist approaches with images and symbols from Santeria. In 1943 he began his most famous work The Jungle. He reflected his mature style, depicting four masked figures as heads, half emerging from dense tropical vegetation. Later that year, she was exhibited at the Gallery in New York, where she created the controversy. The painting depicted the tension between modernism and the vibration and energy of African culture. The Jungle was eventually acquired by the in New York. He is often compared to Picasso, who hung in the Rhine Sophia Museum in Madrid. Lam with another artist Manuel Carbonell (1952) Lam continued to simplify and synthesize abstraction, but continued to paint figuratively; he also continued to develop the mythology and totemism that defined his style. In 1944, he married Helane Holzer, in 1950. In 1946, he and Breton spent four months in Haiti. There, Lam enriched his already extensive understanding and knowledge of African divinity and magical rituals by observing Woodun's ceremonies, although he later said that his contact with African spirituality, which he found throughout America, had no direct impact on his formal style. African poetry, on the other hand, is said to have had an increasing influence on his paintings. In 1950 he worked with Rene Portocarrero and others; in the village of Santiago de Las Vegas, a group of artists worked on ceramics. Lam settled in Paris in 1952 after splitting his time between Cuba, New York and France. Saron de Mayo, 1967. A sidewalk insert in front of Radiocentro CM' Wilfredo Lama, who continued to sympathize with the common man, exhibited a series of paintings at the University of Havana in 1955 to demonstrate her support for student protests against batista's dictatorship. Similarly, in 1965, six years after the revolution, he demonstrated his loyalty to Castro and his goals of socio-economic equality by painting El Thurser Mundo (Third World) for the presidential palace. In 1960, Lam founded a studio in Albissola Marina on Italy's northwest coast and settled there with his wife Lou Laurin, a Swedish artist, and their three sons. In 1964 he was awarded the Guggenheim International Prize, and between 1966 and 1967 there were many retrospectives of his work throughout Europe. With the support of Asger Horne and after he was intrigued by the local pottery business, Lam began experimenting with ceramics and held his first ceramic exhibition in 1975. He advanced to a model of sculpture and cast in metal in the twilight years, often portraying characters similar to those he painted. Vifredo Lam died on September 11, 1982, in Paris at the age of 79. Having held more than a hundred solo exhibitions around the world, Lam had a well established self by the time of his death. Lam's legacy, like many of the most famous artists of the 20th century, combined radical contemporary styles with America's primitive art. While Diego Rivera and Joaquin Torres Garcia drew inspiration from pre-Columbian art, Lam was influenced by African-Americans at the time. He dramatically synthesized surreal and cubist strategies, incorporating the iconography and spirit of the Afro-Cuban religion. For this reason, his works do not belong to any particular artistic movement. He firmly believes that society pays too much attention to the individual and sought to show humanity in general in his works. He drew common figures, creating a universal. To further his goal, he often drew mask-like sides. Although Cuban culture and mythology permeate his work, they relate to the nature of man and therefore it is entirely possible about the non-Pocket people. Opened in 1983, the year The Lam Center for Contemporary Art is a state gallery dedicated to Lamu in Havana, Cuba. This art gallery is responsible for organizing Bienal de la Habana, Cuba, a permanent art collection of about 1,000 works, as well as research and study of contemporary fine art in developing countries. In 2015, a retrospective exhibition of his work opened at the George Pompidou Centre in Paris, followed by a tour of the Rhine Sofia Museum in Spain and the Tate Museum in London. Jungle This section may contain original research. Please improve it by checking the claims made and adding links. Applications consisting only of original research must be removed. (September 2020) (Learn how and when to delete this template message) Wifredo Lam, Jungle, gouache on paper, 1943, Jungle Museum of Contemporary Art, which is considered a masterpiece of Lama, is an example of the artist's mature style. Polymorphism, for which Lam is well known, juxtaposes aspects of people, animals and plants, creating monstrous, hybrid creatures. The dense composition creates a claustrophobic feeling while the shapes remain difficult to differentiate. The elongated limbs of the figures have no definition, while much attention is paid to their large legs, round buttocks and heads in African-style masks. In addition, the iridescent quality of the forms enhances the tropical sense of the picture. However, the Jungle was not intended to describe Cuba's primitiveism. Rather, the lama intended to depict a spiritual state that was undoubtedly inspired by Santeria; It sheds light on the absurdity that has become Afro-Cuban culture and, more specifically, on the way in which their traditions have been cheapened for tourism. He sought to describe the reality of his people through powerful work and gained recognition and fame for it. On December 6, 2017, Sotheby's sold Lam's A Trois centimetrens de la Terre (1962) for 4.44 million pounds ($5.24 million), which set a new record price for the artist. The work was sold as part of the collection of Alain and Candice Fryberger. The previous record for an artist was set in May 2012, when Idolo (Oya/Divinit de l'air de la mort) sold for $4.56 million. Artworks by Deux personnages. 1938. Consail Collection of General de Martinique, France. Mother and child. 1939. Art Institute of Chicago, Chicago. Anam. 1942. Museum of Modern Art, Chicago. Satan. 1942. Museum of Modern Art, New York. Jungle. 1943. Museum of Modern Art, New York. Nameless. 1943. Museum of Fine Arts, Boston Homenaje jicotea. circa 1943. Lowe Museum of Art, University of Miami. Nameless. Lelong Gallery, Paris. Le Guier. 1947. Lelong Gallery, Paris. Le Rev. Roar. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Exodo. 1948. Howard University Art Gallery, Washington, D.C. L'Espirit aveugle. 1948. Indianapolis Museum of Art. Lizamoona. 1950. Stephen M. Greenbaum Collection, New Hampshire. Les enfants without me. 1964. Museum of Modern Art, Brussels. El Terser Mundo. 1965–1966. Bellas National Museum of Art, Havana. Shadow of the days. 1970. Exhibitions This section needs additional quotes to check. Please help improve this article by adding quotes to reliable sources. Non-sources of materials can be challenged and removed. (December 2019) (Learn how and when to delete this template message) Wifredo Lam Peintures. Pierre Gallery, Paris. June 30 - July 14, 1939. Illustrations by Picasso and Guashi Vifredo Lama. Pearls Gallery, New York. November 13 - December 2, 1939. Lam Paintings. Pierre Matisse Gallery, New York. November 17 - December 5, 1942. Lam Paintings. Pierre Matisse Gallery, New York. June 6-24, 1944. Lam Paintings. Pierre Matisse Gallery, New York. November 20 - December 8, 1945. Vifredo Lam. Pierre Gallery, Paris. December 12-31, 1945. Lam Arts Centre, Port-au-Prince, Haichi, January 24-February 3, 1946. Cuban artist Vifredo Lam. London Gallery, London. November 5-30, 1946. Lam: Oblas Rekientes 1950. Central Park, Havana. October 2-15, 1950. Vifredo Lam. Bellas Museum of Art, Caracas, May 8-22, 1955. Vifredo Lam. University of Notre Dame, Notre Dame, January 8-22, 1961. Vifredo Lam Malerey, Vic Gentiles Bildhaurey. Kunsthalle, Basel, September 10 - October 9, 1966; Vifredo Lam. , Hanover, December 16, 1966 - January 16, 1967; Stedelika Museum, January 26 - March 12, 1967; Moderna Museet, Stockholm, April 8 - May 7, 1967; Palace of Fine Arts, Brussels, May 18 - June 18, 1967. Vifredo Lam. Orstrupgaard, Charlottenlund (Denmark), September 14 - October 15, 1978; Sonia Heni, Nils Onstad Foundation, Hovickoden (Norway), Homenaje a Wifredo Lam 1902-1982. National Museum of Modern Art, Madrid, October 20 - December 12, 1982; Ixelle Museum, Brussels, 7 January - 6 March 1983; Museum of Contemporary Art Paris, Paris, March 23 - May 22, 1983. Vifredo Lam, Seals. Central Institute of Fine Arts, Beijing; The Palace of Fine Arts, Shangash; Institute of Fine Arts, Hangzhou, Institute of Fine Arts; Guangzhou; Art Centre, Hong Kong, September 1991 - March 1992. Wifredo Lam: Retrospective works on paper. American Society, New York, September 19 - December 20, 1992; Fundacio La Caixa, Barcelona, January 21 - March 21, 1993. Vifredo Lam. Arte Reina Sofia National Museum, Madrid, September 29 -December 14, 1992; Fandacio Miro, Barcelona, January 21 - March 21, 1993. Lam Metis. Dapper Foundation, Paris, September 26, 2001 - January 20 Year. Vifredo Lam: Lam: Image, Centennial Exhibition. Yokohama Art Museum, Yokohama, October 2002 - January 2003. Vifredo Lam and le Potes. Camprion Museum, Rene Char House, L'Isle sur la Sorgue, France, July 7 - October 2, 2005. Wifredo Lam North America, Haggerty Art Museum, Marquette University, Milwaukee October 11, 2007 - January 21, 2008. Miami Museum of Art, Miami, February 8 - May 18, 2008; Museum of , Long Beach, June 12 - August 31, 2008; Dali Museum, St. Petersburg (FL), October 2, 2008 - January 10, 2009. Wifredo Lam, gravuras, Caixa Cultural de Rio de Rio de Pinacotheque, Sao Paulo, February 27 - May 2, 2010. Wifredo Lam 1902-1982: Voyages entre cara'bes et avant-gardes, Nantes Museum of Fine Arts, France, May 6 - August 29, 2010. Sezer, Lam, Picasso, Nous nous sommes trouves, Gallery National du Grand Palais, Paris, France, March 16 - June 6, 2011. Sezer, Lam, Picasso, Nous nous sommes trouves, Clement Foundation, Le Francois (Martinique), December 6, 2013 - March 2, 2014. Wifredo Lam, Imagining New Worlds, McMullen Museum of Art, Boston, August 30 -December 14, 2014; High Art Museum, Atlanta, February 10 - May 24, 2015. Vifredo Lam, Ey exhibition. London, Tate Modern Gallery (September 14, 2016 - January 8, 2017). Wifredo Lam, National Museum of Modern Art, George Pompidou Center, Paris, September 30, 2015 - February 15, 2016; Reina Sofia National Center for the Arts, Madrid, April 5 - August 15, 2016; Tate Modern, London, 14 September 2016 - 8 January 2017 Drawings by Vifredo Lama: 1940-1955. From juan Castillo Vazquez's personal collection, Havana, Cuba. Lehigh University Art Galleries, Selner Center for the Arts, Bethlehem, Pa., August 30 - December 10, 2017. Benitez's bibliography, Elena. Wifredo and Helena: My Life with Wifredo Lam 1939-1950, Acatos, Lausanne, 1999. Catherine David, exhibition catalogue, George Pompidou Center, Paris, Rhine Sofia National Center, Madrid, Tate Modern, Londres, Edition du , Paris, 2015 Ramos Diaz, Afonso. Ey exhibition: Wifredo Lam. Counterpoints of Cuba, December 1, 2016. Fouche, Max-Paul. Vifredo Lam, Polygrapha, Barcelona, 1976; Cercle d'Art, Paris, 1976; Rizzoli, New York, 1978. Juffroy, Alain. Lam, editions of George Fall, Paris, 1970. Lam, Eskil, Dolga-Ritter, Dorota, Tonno-Rickelink, Dominic. Catalogue Raisonne, Princes, Estampes, 版画, H.S. sedcius, Paris, 2016. Lauryn Lam, Lou. Catalogue of Raisonn painted work, Volume I, 1923-1960, Acatos, Lausanne, 1996. Lauryn Lam, Lou, Lam, Eskil. Catalogue raisonne from painted works, Volume II, 1961-1982, Acatos, Lausanne, 2002. Linhardt, Jak, Lam, Headquarters, Paris, 2009. Leiris, Michelle. Vifredo Lam, Fratelli Fabry, Milan, 1970; Harry N. Abrams, New York, Ortiz, Fernando. Wifredo Lam y su obra vista a trav's de su significados criticos, Publicaciones del ministerio de Educacion, La Victor Moreno - ein kubanischer Maler, Vielflieger VerlagHabana, 1950. Sims, Lowry, S. Vifredo Lam and Vanguard International, 1923-1982, University of Texas Press, Austin, 2002. Tonne-Rickelink, Dominic. Vifredo Lam, Uvre-grave and lithograph, Raisonne Catalogue, De De Grave Museum, 1994. Reporting by Pintores Cubanos; Editing by Vicente Baez, Vivilio Pinera, Calvert Casey and Anton Arruth; Editing by Andrew He Ediciones Revolucion, Havana, Cuba, 1962. See also Cuba portal links - b d e f h i j k l Balderrama, Maria R. ed. Wifredo Lam and his contemporaries 1938-1952. New York: Studio Museum in Harlem, 1992. Alley, Rin. Lam, Vifredo. Grove Art Online. 1999-09-27. Oxford University Publishing House. Vifredo Lam. The Guggenheim Collection. Solomon R. Guggenheim Museum. An archival copy. Archive from the original 2006-01-06. Extracted 2006-01-06.CS1 maint: archived copy as title (link). B c d e Richards, Paulette. Vifredo Lam: Sketch. Callalu 34 (1988): 90-92. Jstor. b Sims, Lowry S. Vifredo Lam and International Vanguard, 1923-1982. Austin, Texas: University of Texas Press, 2002. B Nessen, Susan. Review: Multiculturalism in America. Art magazine 52 (1993): 86-91. Jstor. Victor Moreno as Ein Kubanicher Mahler, Felix Busse, Vielfleger Verlag. A guide to the city of Havana. 2013-12-11. Received 2019-12-12. Vifredo Lam Center for Contemporary Art. www.afar.com. 2017-03-22. Received 2019-12-12. Ramos, Afonso Diaz (2016-12-01). EY EXHIBITION: WIFREDO LAM. Cuba Counterpoints. Lucy-Smith, Edward. Latin American art of the 20th century. 2nd o. London, England: Thames and Hudson Ltd, 2004. Sotheby's 12/06/17 Lot 11. Archive from the original for 2017-12-07. External links Wikimedia Commons has media related to Wifredo Lam. Wikiquote has quotes related to: Wifredo Lam Wifredo Lam Official website Ediciones Vanguardia Cubana. Libbros de Pintura Kubana, biography of Vifredo Lama Lama on the Guggenheim website. Museum of Modern Art collection. Online Gallery of Art Lama. Portrait of Vifredo Lama Brown-Vega (1979). Extracted from the wifredo lam the jungle. the jungle wifredo lam ap art history

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