Lincoln Club Presents Art Raffle to Flip OC Red
featuring Various Cuban Artists
Club member Sammy Sayago has generously donated three art pieces from his collection to help raise money for the Club's ambitious digital project focused on Flipping OC Back to Red this election year!
Professor Cecilia Fajardo-Hill of Yale University kindly provided detailed descriptions of each piece and their artist's background. Professor Fajardo-Hill is a British/Venezuelan art historian and curator in modern and contemporary art, who specializes on contemporary Latin American art having curated and written extensively on the subject. Each of the featured artists have roots in Cuba, two began drawing and painting from very early ages and the other artist is deemed "one of the most important artists of his generation in Cuba."
You can read through their full descriptions from Professor Fajardo-Hill below. To purchase a ticket for a certain piece click on the buttons below the photograph. Thank you in advance for contributing to the cause!
Help take back Orange County!
Main Course, 2000
by José Alberto Fors (Cuba-Mexico b. 1958)
etching, aquatint, dry point and intaglio
37 x 26 inch
José Alberto Fors is a Cuban-Mexican painter, engraver and musician that migrated from Cuba to Miami at the age of three, and subsequently, in 1967 to Mexico where he resides today. Fors did not formally study in art school and is primarily a self-taught artist. He began drawing from an early age, training briefly in commercial drawing, and in 1976 he studied for three years anatomy for figure drawing with Spanish painter Roberto Martínez in Miami. In parallel to his artistic practice, in the 1980s he launched a successful musical career as a rock singer that continues to this day. For the artist, his paintings are the expression of something personal and intimate, while music is his social persona, and both complement each other. The print Main Course, 2000 is an etching representative of Fors’ rigorous realist style inspired by Renaissance art, chiefly by Miguel Angel Buonarroti. This work features the portrait of a woman with tilted head and closed eyes, in a pensive gesture, showing in the first plane a small white dog inside a bowl resting on a table. This portrait is inspired by the Renaissance tradition of portraiture of women with dogs or pets. Main Course is especially close to Leonardo da Vinci, Lady with an Ermine, 1489-90, both in composition and mood, in the ways that both faces are shown sideways, for their pensive introspective frame of mind, their attire, and finally for the centrality of the pets in the configuration of the painting. In spite of the classical rendering of the print, several elements in Fors work reveal a surrealism both in the way the title informs the role of the dog in a bowl, and the scull earing on her face both suggest the idea of existential reflection. The artist is interested in the dark side of the human existence, and to showing those aspects that reveal both the passage of time and human tribulations. Despite of the beauty of the sitter, we see wrinkles appear around her lips and forehead, thus making it possible for us to relate to the woman in her full humanity, and not simply as an ideal of beauty from the past. Technically the print shows great mastery in the richness of textures, complex color treatment of the surface, and in the rendering of the subject matter. He has exhibited internationally in institutions and art galleries in cities such as Miami, Florida, Washington, DC, Boston, Massachusetts, Winnipeg, Canada, Tokyo, Japan and Mexico City and Guadalajara and his works is found in museums and private collections.
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Flor en la maleza (Flower in the Undergrowth), 1998
by Baruj Salinas (Cuba b. 1938)
Acrylic, charcoal, gouache, pastel and graphite on paper
30 x 22 inch
Baruj Salinas is a Cuban-born American artist born in Havana of Jewish parents in 1938. He began painting at the early age of 6 inspired by his mother who was a painter. Over the years and while living in Cuba, he painted landscapes and Cuban street life scenes and at age 14 started to frequent the Círculo de Bellas Artes in Havana. Nevertheless, he never fully trained academically as an artist and instead, he graduated from the University of Ohio with an architectural degree in 1958, leaving Cuba permanently in 1959. Salinas has lived in Miami, San Antonio, Texas, Mexico and Barcelona, Spain, to settle in Miami where he lives now. He practiced architecture for a living while painting on the side to finally dedicate himself only to art in 1969, when he won the prestigious Cintas Foundation Award. After graduating, architecture became an important theme in his work, as he painted architectural motifs that he began to abstract. In 1969 after the first landing in the moon, Salinas began reading about astronomy and started painting constellations, nebulas, and outer space, his work becaming abstract. In 1974 Salinas moved to Barcelona, Spain where he found great inspiration in the work of Spanish artists Joan Miró and Antoní Tàpies, Albert Ràfols-Casamada; abstract artists that used expressive brushstrokes and informal compositions, that also characterize Salinas’ abstraction. It is in Spain that the artist’s palette became reduced, for white and gray to predominate. Art for Salinas is like a meditation where he enjoys seeing a wide space that develops into something with life. Flor en la maleza, 1998 is characteristic of his floral and natural motifs made with a darker palette and informalist manner. Despite of the work being representational of a close up of a flower, it is depicted with loose gestural brushstrokes of layered paint that abstract the motif. The petals seem to dissolve in a liquefied combination of white, gray and mustard yellow, to be contrasted with the dark gray green of the background. The idea of undergrowth is depicted in his characteristic calligraphic marks created by scraping the surface of the paint. The contrast between the textured background and the fluid application of paint of the flower, creates an energetic and original depiction of a flower that fluctuates between abstraction and figuration.
Over the years Salinas has exhibited worldwide and has been the recipient of prestigious prizes. His work if found in important collections all over the world such as the Joan Miro Foundation, Barcelona; the National Museum of Catalonia, Barcelona; the National Institute of Fine Arts, Mexico D.F; the Beit Uri Museum, Israel; the Fort Lauderdale Museum of the Arts, Florida; the Fine Arts Museum, Budapest; the Art Institute of Chicago and el Phoenix Art Museum, Arizona.
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Imágenes en el tiempo LIII (Images in Time), 2002
by Agustín Bejarano (Cuba b. 1964)
17 11/16 x 21 7/16 in
Agustín Bejarano is one of the most important artists of his generation in Cuba. He began studying art in 1976 at the Elementary School of Plastic Arts Luis Casas Romero, Camagüey; moved subsequently to Havana where he graduated with a painting degree at the National School of Art (ENA) in 1984, and in 1989 obtained a specialty in engraving at the Higher Institute of Art. Bejarano is a highly accomplished painter and engraver, winning in 1995 an award at the 11th Latin American and Caribbean Engraving Biennial in Puerto Rico and in 1997 the Grand Prix at the National Engraving Salon in Cuba. Bejarano’s work embraces a wide range of themes such as landscape, still life, Renaissance and medieval iconography, and importantly the relationship of man and land. Bejarano Imágenes en el tiempo LIII, 2002, is part of a series of paintings and engravings the artist began in the mid 1990s depicting the figure of a man in nature. These works stand out as notable depictions of landscapes that far from being stereotypical portrayals of Tropical lush vegetation and exotic individuals, are philosophical meditations on the symbolic and existential connection of man and nature, and of the relationship and tensions between the countryside and the urban. The tonality of the landscape is rendered dark by the extensive use of black, producing a somber atmosphere around the central figure of a peasant dressed in a white long sleeve shirt and hat. Strangely the figure is standing over a ladder that is in a horizontal position, seemingly suspended in the air, bridging two worlds. Nevertheless, this ladder seems to end at a fence behind the peasant, thus not going far. Suspended in the foreground are long stems with pink flowers that soften the darkness of the scene, but simultaneously collapsing any logic of perspective in the landscape. The compositional elements in this work may exist in the real world, but the way the artist has brought them together, stress a supernatural atmosphere and outwardly reality.
Bejarano has participated in many international exhibitions and biennials in cities such as Miami, Chicago, New York, Paris, Madrid, Tokyo, and Mexico City. His work is found in museums in Cuba and international private collections.
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