wifredo lam the jungle description

Unlike most New World countries, which had won independence during the early and middle years of the nineteenth century, Cubra gained autonomy from Spain only in 1902, the year Lam was born. “Riding Modernism: Wifredo Lam’s Decenterings.” 20. [9] The background displays a jungle filled with jewel-like sugar canes and frutas bomba (papayas) that both morph to become part of the figures in the painting in a way that is directly influenced by André Breton’s Surrealism . ... Lam painted Omi Obini in 1943, the same year he made The Jungle, a work with which it has an important formal relationship and … [12] It is necessary to highlight that regardless of how exposed Lam was to Santería, he was never officially part of the religion and only participated in certain rituals as a spectator. Wifredo Lam December 8, 1902 – September 11, 1982 The son of a Chinese immigrant and a Congolese slave, Lam grew up in Cuba, and lived amongst Catholic as well as African traditions. From a young age, Lam had always been exposed, at least on a cultural sense, to Santería. [18] In its own way, Breton’s Surrealism inspired the deconstructive character seen in two remarkable examples of Latin American Modernism: Lam’s La Jungla (1943) and Matta’s Here, Sir Fire, Eat! Nowadays, as a result from the Museum of Modern Art (MoMA)’s latest efforts to fight recent critiques of it being a space for “white, male, and nationalist” art, these two works can now be admired in the David Geffen Galleries dedicated to Out of War art. [22] Mosquera, Gerardo. Ce tableau, réalisé dans les années 1942-43, a été considéré, par certains critiques de l´époque, comme le premier manifeste plastique du tiers-monde parce qu´il était d´accord Inspired by and in contact with some of the most renowned artists of the 20th century, Lam melded his influences and created a unique style, which was ultimately characterized by the prominence of hybrid figures. A native Cuban, Lam hailed from Chinese, European, Indian, and mixed-African descent, and he was deeply influenced by African spiritual practices such as Santeria. Wifredo Lam: his birthday, what he did before fame, his family life, fun trivia facts, popularity rankings, and more. by Susan Edwards. 1), was born. If you know of the artist Wifredo Lam (1902–82), then it is likely that you are familiar with his most famous painting, The Jungle, 1943.For many years the painting was installed on the ground floor of the Museum of Modern Art, New York (MoMA) opposite the entrance to the administrative offices and library, on the way to the coatroom. “I knew I was running the risk of not being understood. “I wanted with all my heart to paint the drama of my country, but by thoroughly expressing the black spirit, the beauty of the plastic art of the blacks,” he once said. The Jungle (1943) depicts hybrid male and female figures, their bodies blending human, animal, and plant imagery within a crowded jungle filled with sugarcane and banana leaves. La vie est un songe, Filipacchi 1974 Cuba, 1902–23. Although Lam described the Bergman piece as “one of the preparations for La Jungle ” (letter to Edwin Bergman of April 1956), to which it bears a close general resemblance, there is no exact counterpart to its subject in the larger work. “Syncretism and Syntax in the Art of Wifredo Lam.” 167. “Wifredo Lam: A Sketch.” Callaloo34 (Winter 1988): 91-92. [12] Mosquera, Gerardo. [7] Fletcher, Valerie, and Lowery S Sims. Reading a survey on Caribbean art that I found at the public library, Wilfredo Lam came up at least half a dozen times before I even got to the section on Afro-Cubanism. “Syncretism and Syntax in the Art of Wifredo Lam.” 171. This merging of human, animal, and plant forms is described as magical metamorphosis. Queloides: Race and Racism in Cuban Contemporary Art = Raza y Racismo En El Arte Cubano contemporáneo, 20. https://login.avoserv2.library.fordham.edu/login?url=https://search-proquest-com.avoserv2.library.fordham.edu/docview/2303529921?accountid=10932. Lam’s distinctive style and exploration of Afro-Cuban visual culture, alongside his knowledge of European modernism, made a hug… Wifredo Lam was a Cuban-born artist, best known for his large scale paintings which reference modernist aesthetics and Afro-Cuban imagery to explore themes of social injustice, spirituality and rebirth. Cite this page as: Dr. Doris Maria-Reina Bravo, "Wilfredo Lam, Featured | Art that brings U.S. history to life, At-Risk Cultural Heritage Education Series. Wifredo Lam was a twentieth century Cuban artist and one of the most influential ones in Latin American Modernism. Lam’s ethnic and cultural heritage included the African diaspora in Cuba, and when he returned to the island in the 1940s, he became reengaged … [13] Fletcher, Valerie, and Lowery S Sims. Oil on paper mounted on canvas, Collection of Sergio and Christine Delgado. This same cultural hybridity that is so characteristic of Lam’s life and art, can also be seen in La Jungla (1943) through the “bamboo-like stalks of wild cane”, the oval-like faces, and the clear Cubist influence, among other elements. ... Ortíz was a key figure in the Afro-Cuban movement and was the first to point out the significance of the foliage in Lam's The Jungle, a foliage similar to that seen in this 1944 drawing. [5] Fletcher, Valerie, and Lowery S Sims. 6–7 (January 1997): 16–21 . Annunciation Told Like an Origin Story : Notes on Henry Ossawa Tanner, The Symbolic Interpretation of One of the Most Enigmatic Masterpieces, What You Should Know About the History of Collage, Physicality as an Aesthetic: Encountering Ramesh Mario Nithiyendran, Building Bridges: The Top Lots from New York’s Fall Imps & Mods, The Woman Was Lit: Artist Lilla Cabot Perry. These practices represent some of the many ways that “Africans and their descendants participated actively in the process of creolization and mixture” by creating “new cultures and nationalities in the Americas”. From twentieth century Cuba to the prestigious galleries of New York’s MoMA and the well-known Queloides exhibition in the twenty-first century, the way La Jungla (1943) confronts dislocation and assimilation remains relevant and inspiration to artists and members of the African diaspora everywhere. (123.5 x 108.8 cm.) [9] Fletcher, Valerie, and Lowery S Sims. … The Jungle, of late on exhibit at the Museum of Modern Art based in the New York City, has an indisputable existence within the gallery; the limbs, the cluster of enigmatic faces, and the sugarcane group a canvas that is about 8 foot square. The polymorphism, for which Lam is well known, juxtaposes aspects of humans, animals, and plants, creating monstrous, hybrid creatures. [19], Just as how the Black Atlantic is not restricted to one nationality or location, neither is Lam’s impact. [21] Fuente, Alejandro de la, Valdés Elio Rodríguez, and Dennys Matos. [3] Fletcher, Valerie, and Lowery S Sims. 1. In fact, growing up in the Caribbean during the early twentieth century as the “son of a Chinese father and a European-African mother”, Lam was, since his childhood, familiar with the struggle of not fitting into one category. We believe art has the power to transform lives and to build understanding across cultures. For instance, from the dominant Western traditions of the time, it was the “fanciful yet spiritual visions of Hieronymus Bosch and El Greco” as well as the “simplified forms and vivid colors of Henri Matisse and Pablo Picasso” that inspired Lam. The Jungle, which is considered Lam's masterpiece, is exemplary of the artist's mature style. As “the first vision ever of modern art from the standpoint of Africa within Latin America”, one cannot analyze the many ways that La Jungla (1943) deals with decolonization without considering the many ways that this painting continues to do so even after the peak of the Afro-Cubans movement.[22]. Pittsburgh, PA: Mattress Factory, 2010. [2] Fletcher, Valerie, and Lowery S Sims. He depicted figures with crescent-shaped faces, recalling African or Pacific Islander masks, against a background of Cuban sugarcane fields. “Syncretism and Syntax in the Art of Wifredo Lam.” 217. . [5] Likewise, from his Central and West African heritage, it was the “pointed oval or heart-shaped face” of sculptures across the Congo Basin and Nigeria and the “‘coffee bean’ type” eyes that inspired Lam. He studied in Spain under the same teacher as Salvador Dalí and became a friend of Picasso after moving to Paris in 1938. Washington, D.C.: Smithsonian, 1992. “Syncretism and Syntax in the Art of Wifredo Lam.” 183. The figures' elongated limbs lack definition, while much emphasis is placed on their larg… https://login.avoserv2.library.fordham.edu/login?url=https://search-proquest-com.avoserv2.library.fordham.edu/docview/2303529921?accountid=10932. At least the name was familiar. Wifredo Lam was a Cuban artist who sought to portray and revive the enduring Afro-Cuban spirit and culture. [6] Fletcher, Valerie, and Lowery S Sims. “Introduction” In Crosscurrents of Modernism: Four Latin American Pioneers: Diego Rivera, Joaquin Torres-Garcia, Wilfredo Lam, Matta = Intercambios Del Modernismo, Cuatro Precursores Latinoamericanos, 17. [20] This can be seen in the work of Cuban composer, Elio Rodríguez, who is directly inspired by La Jungla (1943) and the way Lam “turns it into a landscape replete with the symbolism of Caribbean sexuality and lasciviousness”. ... Cuban artist of Asian ancestry who was best known for his 1943 work "The Jungle." “Wifredo Lam, the Shango Priestess, and the Femme Cheval.” Journal of International Women’s Studies 17 (June 2016): 92. http://vc.bridgew.edu/jiws/vol17/iss3/8. We created Smarthistory to provide students around the world with the highest-quality educational resources for art and cultural heritage—for free. [14] In La Jungla (1943), Lam depicts Santería through the recurring image of the femme cheval (or “horse-woman”). [15] The femme cheval appeals to the Santería practice of possesions by the orishas (“divinities or spirits who act as intermediaries between humans and the forces of nature”) while also invoking a feminine energy that is key to Lam’s Négritude and the cultural syncretism of La Jungla (1943). Lam created a new narrative within the Cuban imagination: rooted in the island’s complex history, his work was an antidote to the picturesque frivolity that mired the nation in stereotype, The Jungle is both enigmatic and enchanting, and has inspired generations of viewers to liberate their imaginations. (1942) (Fig. [18] Fletcher, Valerie. Similar to Lam’s practice, the way Queloides deals with “the subjects of race, discrimination, and racism…is not confined to the island”. Around this time, Lam moved to Cuba to create paintings that would move him “closer to his own culture instead of moving away” and this is the period in his life where his most renowned work, La Jungla (1943) (Fig. “Syncretism and Syntax in the Art of Wifredo Lam.” 169. Yet white Euroeans continued to dominate the upper levels of society and the economy, partly because Cuba remained staunchly colonialist. Lam’s bold painting is a game of perception. Wifredo Lam. Wifredo Lam, in his painting, The Jungle, portrays at least four figures resembling the bamboo stalks they stand between. In 1972, an entire room was dedicated to the artist at the 36 th Venice Biennale. New York: Rizzoli International Publications, 1976, 188-189. Through La Jungla (1943)’s signature incorporation of elements from Santería, European Cubism and Surrealism, and West and Central Africa, Lam successfully manages to redefine the Modernism of the time by appealing to a cultural hybrid that embodied the multiculturalism of the Black Atlantic. “Syncretism and Syntax in the Art of Wifredo Lam.” 175. “Wifredo Lam: A Sketch.” Callaloo34 (Winter 1988): 91-92. We believe that the brilliant histories of art belong to everyone, no matter their background. His father was Chinese and his mother was a Cuban woman of mixed Spanish and African heritage. Estimate: €1,300 - €1,600 Description: Etching with aquatint Wifredo Lam (1902 - 1982) - Cuban artist Prints by Wifredo Lam fetch up to 2,500 Euros at international auctions Signed lower right in pencil "Wifredo" Numbered lower left in pencil "3/99" Overall dimensions, framed: 65 x 84.5 cm Good condition This etching with aquatint by Wifredo Lam was made in 1972. [19] Cotter, Holland. Cambridge, MA: MIT Press, 1996. Foto: Wifredo-Lam.-Galería-Montenegro. Wifredo Lam. [6] There are also elements, such as the sugar canes, that truly embody his mixed ancestry by referring “not only to Cuba’s pervasive plantations” and their connection to the slave trade from Africa, but “to Lam’s Chinese ancestry taken root in Caribbean soil” as well.[7]. 1. [4] Just as how Lam grew up as part of several communities, so did his art. Also excelled in sculpture, ceramics, and printmaking. The Jungle, 1943 by Wifredo Lam, Art Print Poster 14" x 11" Brand: Bruce McGaw Graphics. https://doi.org/10.1215/10757163-6-7-1-16. “Modernism from Afro-America: Wilfredo Lam.” In Beyond the Fantastic, 127. Fouchet, Max-Pol. Not on view. Lam and Matta, for instance, “both embraced Surrealism as a means of liberation for the individual spirit. “Riding Modernism: Wifredo Lam’s Decenterings.” Nka Journal of Contemporary African Art1997, no. 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