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ERNESTO GONZÁLEZ PUIG (Cabañas, Pinar del Río, Cuba 1913 - Havana, Cuba 1988)."Periplo de las
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Beschreibung
ERNESTO GONZÁLEZ PUIG (Cabañas, Pinar del Río, Cuba 1913 - Havana, Cuba 1988).
"Periplo de las islas lucidas", 1970.
Oil on canvas.
Attached certificate of authenticity issued by Isabel Lilian González (daughter of the artist).
No stretcher.
Signed and dated in the lower right corner. Signed, dated and titled on the back.
Measurements: 170 x 100 cm.
Ernesto González Puig entered the world of art in a self-taught way, creating his own aesthetic language linked to symbolism. In 1934 his first individual exhibition was held at the Lyceum in Havana, which was a very famous and prestigious venue. Four years later he decided to broaden his education so that he entered the Escuela Normal de Santa Clara, where he trained in mural painting. Once his career as an artist was established, in 1940 he was selected to participate in the exhibition "300 years in Cuba", which brought together the most important artists of the Cuban avant-garde, thus becoming a milestone in the artistic development of the country. In 1962 he moved to Havana to teach psychology. In 1967, in addition to continuing his exhibition activity, he participated in the collective mural of the Cuban pavilion for the Salón de Mayo in Havana. A year before his death, he was able to see the great retrospective devoted to him by the Museo Nacional de Bellas Artes de Cuba. During the 20th century, the Cuban artistic school continued to maintain many of the aesthetic precepts and aesthetic influences that came from abroad, thus being an art that continued the pictorial translation of the West. However, this academicism gradually disappeared in favour of an interest in highlighting national values, which was first reflected in the themes, although later a style was also enriched in accordance with the particularities and idiosyncrasies of the country itself. The Cuban school of the 20th century was characterised by its acceptance of the European avant-garde and the development, on that basis, of its own language. 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. In this way, the native references merged with the formal language learned in Europe to produce works in which the characters of the Yoruba pantheon that would populate a large part of his later production appear.
"Periplo de las islas lucidas", 1970.
Oil on canvas.
Attached certificate of authenticity issued by Isabel Lilian González (daughter of the artist).
No stretcher.
Signed and dated in the lower right corner. Signed, dated and titled on the back.
Measurements: 170 x 100 cm.
Ernesto González Puig entered the world of art in a self-taught way, creating his own aesthetic language linked to symbolism. In 1934 his first individual exhibition was held at the Lyceum in Havana, which was a very famous and prestigious venue. Four years later he decided to broaden his education so that he entered the Escuela Normal de Santa Clara, where he trained in mural painting. Once his career as an artist was established, in 1940 he was selected to participate in the exhibition "300 years in Cuba", which brought together the most important artists of the Cuban avant-garde, thus becoming a milestone in the artistic development of the country. In 1962 he moved to Havana to teach psychology. In 1967, in addition to continuing his exhibition activity, he participated in the collective mural of the Cuban pavilion for the Salón de Mayo in Havana. A year before his death, he was able to see the great retrospective devoted to him by the Museo Nacional de Bellas Artes de Cuba. During the 20th century, the Cuban artistic school continued to maintain many of the aesthetic precepts and aesthetic influences that came from abroad, thus being an art that continued the pictorial translation of the West. However, this academicism gradually disappeared in favour of an interest in highlighting national values, which was first reflected in the themes, although later a style was also enriched in accordance with the particularities and idiosyncrasies of the country itself. The Cuban school of the 20th century was characterised by its acceptance of the European avant-garde and the development, on that basis, of its own language. 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. In this way, the native references merged with the formal language learned in Europe to produce works in which the characters of the Yoruba pantheon that would populate a large part of his later production appear.
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ERNESTO GONZÁLEZ PUIG (Cabañas, Pinar del Río, Cuba 1913 - Havana, Cuba 1988).
"Periplo de las islas lucidas", 1970.
Oil on canvas.
Attached certificate of authenticity issued by Isabel Lilian González (daughter of the artist).
No stretcher.
Signed and dated in the lower right corner. Signed, dated and titled on the back.
Measurements: 170 x 100 cm.
Ernesto González Puig entered the world of art in a self-taught way, creating his own aesthetic language linked to symbolism. In 1934 his first individual exhibition was held at the Lyceum in Havana, which was a very famous and prestigious venue. Four years later he decided to broaden his education so that he entered the Escuela Normal de Santa Clara, where he trained in mural painting. Once his career as an artist was established, in 1940 he was selected to participate in the exhibition "300 years in Cuba", which brought together the most important artists of the Cuban avant-garde, thus becoming a milestone in the artistic development of the country. In 1962 he moved to Havana to teach psychology. In 1967, in addition to continuing his exhibition activity, he participated in the collective mural of the Cuban pavilion for the Salón de Mayo in Havana. A year before his death, he was able to see the great retrospective devoted to him by the Museo Nacional de Bellas Artes de Cuba. During the 20th century, the Cuban artistic school continued to maintain many of the aesthetic precepts and aesthetic influences that came from abroad, thus being an art that continued the pictorial translation of the West. However, this academicism gradually disappeared in favour of an interest in highlighting national values, which was first reflected in the themes, although later a style was also enriched in accordance with the particularities and idiosyncrasies of the country itself. The Cuban school of the 20th century was characterised by its acceptance of the European avant-garde and the development, on that basis, of its own language. 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. In this way, the native references merged with the formal language learned in Europe to produce works in which the characters of the Yoruba pantheon that would populate a large part of his later production appear.
"Periplo de las islas lucidas", 1970.
Oil on canvas.
Attached certificate of authenticity issued by Isabel Lilian González (daughter of the artist).
No stretcher.
Signed and dated in the lower right corner. Signed, dated and titled on the back.
Measurements: 170 x 100 cm.
Ernesto González Puig entered the world of art in a self-taught way, creating his own aesthetic language linked to symbolism. In 1934 his first individual exhibition was held at the Lyceum in Havana, which was a very famous and prestigious venue. Four years later he decided to broaden his education so that he entered the Escuela Normal de Santa Clara, where he trained in mural painting. Once his career as an artist was established, in 1940 he was selected to participate in the exhibition "300 years in Cuba", which brought together the most important artists of the Cuban avant-garde, thus becoming a milestone in the artistic development of the country. In 1962 he moved to Havana to teach psychology. In 1967, in addition to continuing his exhibition activity, he participated in the collective mural of the Cuban pavilion for the Salón de Mayo in Havana. A year before his death, he was able to see the great retrospective devoted to him by the Museo Nacional de Bellas Artes de Cuba. During the 20th century, the Cuban artistic school continued to maintain many of the aesthetic precepts and aesthetic influences that came from abroad, thus being an art that continued the pictorial translation of the West. However, this academicism gradually disappeared in favour of an interest in highlighting national values, which was first reflected in the themes, although later a style was also enriched in accordance with the particularities and idiosyncrasies of the country itself. The Cuban school of the 20th century was characterised by its acceptance of the European avant-garde and the development, on that basis, of its own language. 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. In this way, the native references merged with the formal language learned in Europe to produce works in which the characters of the Yoruba pantheon that would populate a large part of his later production appear.
8th March - Contemporary Art
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