Tag Archives: Wilfredo Lam

Good Things Come to Those Who Wait

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And I’m not only talking about the state-subsidized ice cream parlor in Havana, where Cubans wait in line for hours for the flavor of the day–at times with empty plastic containers in tow.*

This is where they hide all they good stuff: the Museo Nacional de Bellas Artes’ Coleccion de Arte Cubano. The museum proceeds chronologically from the pre-Colonial to contemporary post-Revolution Cuban art. Here they have a horde of works by the under-appreciated Fidelio Ponce de Leon and some of Wilfredo Lam‘s most famous paintings, including La Silla, as well as extensive drawings of his. After reading up on these painters a few months ago, it was a joy to see them.

Fidelio Ponce de Leon is an artist who is difficult to research, and there I was in the museum without even a pen to jot down the titles of his works! Unfortunately the museum is extensively staffed with gaurds who shout their Draconian policy of “No Foto,” even when you are photographing the caption next to the painting. It is a shame because there were many interesting artists who were new to me. To top it off, now that I have returned to the land of the internet, I find that the museum does not have a website. I guess I’ll have to wait a little longer on that one.

Another place that holds some good stuff, if you’ll allow me to toot my own horn, is Escape Into Life online arts journal, which posted an essay of mine last night. You might remember that I wrote a bit about Gauguin before on this blog, about the time I was writing about Ponce de Leon and Lam. If you want to continue the stroll down Memory Lane, check out Paul Gauguin and Savageness on Escape Into Life.


*You can buy roughly 50 scoops for the equivalent of 1 USD!, so it makes sense to fill up while you can.

Wilfredo Lam’s The Jungle

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The Jungle, 1943

At least the name was familiar. 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. The Jungle, above, is the most famous example of his work and displays the merging of European painting tradition in its Cubist perspective yet the masked figures amidst the sugarcane and bamboo also reflect the painter’s inclusion of his African heritage and culture.

It should be noted that The Jungle was not intended to represent Afro-Cuban traditions literally–the masks are African-inspired rather than relating directly to his experience in Cuba. It is, in fact, a critique. His intention was to describe a spiritual state, most particularly that of an Afro-Cuban culture that had been reduced to absurdity by panning to tourist trade.

“I wanted with all my heart to paint the drama of my country, but by thoroughly expressing the negro spirit, the beauty of the plastic art of the blacks. In this way I could act as a Trojan horse that would spew forth hallucinating figures with the power to surprise, to disturb the dreams of the exploiters.”– Wilfredo Lam

La Silla, 1943
Lam was born in Cuba to a Chinese father and a half Congolese, half Cuban mulatto mother. After studying in Cuba, he moved to Madrid and then Paris to continue his training. He became friends with Picasso and his circle and was influenced by them. He later traveled through the Caribbean with Andre Breton, another influential person in the Caribbean arts scene of the time.

When he returned to Havana in 1941, Lam became newly aware of Afro-Cuban traditions, which he felt were being lost and made picturesque for tourists. He wished to free Cuba from cultural subjugation and to rediscover its African heritage. Many great artists of the 20th century combined radical style with “primitive” arts. Lam did so by synthesizing the Surrealist and Cubist forms to express the iconography of Afro-Cubanism. Authenticity was perhaps more created than discovered in his work. A successful artist internationally who supported his ingenuous roots, he died in Paris in 1982. He remains widely influential in Cuba and throughout the Caribbean.

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