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 Temporary Exhibition


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Wifredo Lam travels a different road

Wifredo Oscar de la Concepción Lam y Castilla was born December 8, 1902, in Sagua la Grande, Cuba. In 1916, his family moved to Havana, where he attended the Escuela de Bellas Artes. During the early 1920s, he exhibited at the Salón de la Asociación de Pintores y Escultores in Havana. In 1923, Lam moved to Madrid, where he studied at the studio of Fernando Alvarez de Sotomayor, the Director of the Museo del Prado (and a teacher of Salvador Dalí). In 1929, Lam married Eva Piriz, who died of tuberculosis two years later, as did their young son. This tragic event may have contributed to the dark and brooding appearance of much of Lam’s later work.

In the early 1930s, the effects of Surrealism were evident in Lam’s work, as was the influence of Henri Matisse and possibly Joaquín Torres-García. In 1936, a traveling exhibition of the work of Pablo Picasso shown in Barcelona, Bilbao, and Madrid proved inspirational to Lam both artistically and politically. He moved to Paris in 1938, where Picasso took him under his wing and encouraged his interest in African art and primitive masks. During that year, he also traveled to Mexico, where he stayed with Frida Kahlo and Diego Rivera. Lam’s own multicultural heritage (as the son of a Chinese father and a mother of mixed African, Indian, and European descent) and his involvement with Santería, a religion rooted in African culture, would soon become integral to his work. By the late 1930s, Lam was associated with the Surrealists. He had his first solo show at the Galerie Pierre Loeb in Paris in 1939, and his work was exhibited with Picasso’s at the Perls Galleries, New York.


"The jungle", 1943


"Woman with the hands up", 1943

"... a chair appears at the center of a natural landscape. Nothing was more precarious, weaker, than the appearance of that piece of furniture that is so present in man's daily life. The chair’s geometry is cut on the vegetal background. The main topic of the composition, held on fragile legs and a vertex that cannot escape the spectator's notice, no longer appears in a neutral background. It Is Immersed in a vegetal background, placed in such a way that Is more streaky than exuberant, as if the pictorial solution were now taken over by an obsessive fear of emptiness."

Graziella Pogolotti


"The Chair", 1943

"Third World", 1963


Untitled, 1960


"Canes", 1965


"Thoothed woman", 1955


"Table", 1944

“For Pablo Picasso and André Breton, Wifredo Lam was an artist of great talent, with a specially rich pool of images combining ancestral idioms with a knowledge of classical European paintings. In the years from 1941 to 1950, Wifredo's working capacity was at its best.”

Helena Benitez

(she was Lam's couple between 1939 -1949)

 


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