Vicente Hernández, a fantastic painter on local customs in Havana.
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- Arts and Culture
- Caribbean
- Culture and Traditions
- Events
- Havana
- Paint and Sculpture
- 01 / 01 / 2008
The author is the creator of the poster that promotes the XXIX
The Cuban painter Vicente Hernández, the autor of the painting that illustrates the poster to the XXIX Festival of the New Latin American Cinema, innaugurated a personal exhibition called De un extraño pueblo (From a strange town), at the Servando gallery, in Vedado.
The exhibition includes about fifteen recent canvases where Hernández paints, proud of his own origin, the visual heritage of his town: Batabanó, to the south of the capital. Canvases that smell like the coast, mangrove and salt destroy the velidity of the laws of aesthetics and seriousness. Unusual flying artifacts load Vicente's personal imagination.
No other Cuban artist has ever represented so many figures floating in midair. This sort of half-fantastic figuration announces clearly that Batabanó and its painter live attached to the wonders that inhabit this piece of land. The amazing capability to transmute the smallest everyday detail into dream houses and characters can be apreciated in the titles Estación internacional (International Station), La noble Habana (The noble Havana), Rinoceronte (Rhinoceros) and the diptych El paso del ángel (The pass of the Angel) among other pieces.
El deporte nacional (The nacional Sport), El sombrero (The Hat) and El gran autobús (The great bus) go beyond local color to assume the representation of nacional signs. A huge baseball stadium suspended in midair, the national Capitol, the yarey hat, an atribute of Cuban peasants, the royal palm trees together with other symbolic objects give faith of this.
The surrealist background of all of his painting seems to be declared with a lot of humor in his picture This is not eigther a pipe, whose reference is the famous painting by the Belgian painter René Magritte, Ceci, n'est pas un pipe. The marked interaction between objects and ideas, magic and reflection is expressed in the crowned pipe from the traditional windows and doors of the fishing town.
Particles extracted from the reality of its surroundings make up the landscapes filled with dynamic bruchstrokes. The tonal palette, which sometimes recalls the great Flemish painters, adds illuminated shades of blue, intense shades of green and yellowish ocher colors to its marshes and town landscapes, while the surreal perspective lets us enter into a long trip around the suggested stages.
Vicente Hernández graduated from Artistic Education and he is a permanent colaborador from the Nicolás Guillén Foundation. His work is part of the Cernuda Art Gallery in Miami, and they may be found in collections in Cuba and around the World.
(Cubanow)
The Cuban painter Vicente Hernández, the autor of the painting that illustrates the poster to the XXIX Festival of the New Latin American Cinema, innaugurated a personal exhibition called De un extraño pueblo (From a strange town), at the Servando gallery, in Vedado.
The exhibition includes about fifteen recent canvases where Hernández paints, proud of his own origin, the visual heritage of his town: Batabanó, to the south of the capital. Canvases that smell like the coast, mangrove and salt destroy the velidity of the laws of aesthetics and seriousness. Unusual flying artifacts load Vicente's personal imagination.
No other Cuban artist has ever represented so many figures floating in midair. This sort of half-fantastic figuration announces clearly that Batabanó and its painter live attached to the wonders that inhabit this piece of land. The amazing capability to transmute the smallest everyday detail into dream houses and characters can be apreciated in the titles Estación internacional (International Station), La noble Habana (The noble Havana), Rinoceronte (Rhinoceros) and the diptych El paso del ángel (The pass of the Angel) among other pieces.
El deporte nacional (The nacional Sport), El sombrero (The Hat) and El gran autobús (The great bus) go beyond local color to assume the representation of nacional signs. A huge baseball stadium suspended in midair, the national Capitol, the yarey hat, an atribute of Cuban peasants, the royal palm trees together with other symbolic objects give faith of this.
The surrealist background of all of his painting seems to be declared with a lot of humor in his picture This is not eigther a pipe, whose reference is the famous painting by the Belgian painter René Magritte, Ceci, n'est pas un pipe. The marked interaction between objects and ideas, magic and reflection is expressed in the crowned pipe from the traditional windows and doors of the fishing town.
Particles extracted from the reality of its surroundings make up the landscapes filled with dynamic bruchstrokes. The tonal palette, which sometimes recalls the great Flemish painters, adds illuminated shades of blue, intense shades of green and yellowish ocher colors to its marshes and town landscapes, while the surreal perspective lets us enter into a long trip around the suggested stages.
Vicente Hernández graduated from Artistic Education and he is a permanent colaborador from the Nicolás Guillén Foundation. His work is part of the Cernuda Art Gallery in Miami, and they may be found in collections in Cuba and around the World.
(Cubanow)
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