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Rene Portocarrero (1912-1985)

Born in El Cerro, Havana in 1912. He began painting at an early age and entered the San Alejandro Academy of Fine Arts at the age of 14. He was too temperamental to adapt to this training, so he left the institution and began working independently. His work was exhibited for the first time at the Havana Art Salon. In 1939 Porto Calero became a professor at the Institute of Free Painting and Sculpture under the guidance of Eduardo Abella. The artist traveled to Haiti, Europe and the United States, and in 1945 had an exhibition at the Julien Levy Gallery in New York. He also created numerous murals and ceramics.
Porto Carrero’s work is in the permanent collections of the Museum of Contemporary Art in Su00e3o Paulo, Rio de Janeiro, New York and San Francisco. At the National Gallery of Canada. At the Bellas Artes in Caracas. Milwaukee Art Center, Pan American Union in Washington. Contemporary art in Paris. Houston Museum of Art. Museum of Art, Indianapolis. Bellas Artes, Montevideo. Bellas Artes, Buenos Aires. Contemporary Art Institute, Lima, Peru. It is also at the National Museum in Havana.

He painted vigorously from childhood, but never planned his own works. In his spontaneity, he had no idea what he was going to do until his brush hit the canvas. The artist died in Havana on April 7, 1985.

www.ftn-books.com has now the Henschel Verlag book available.



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Artsy.net list and Zilia Sanchez (1926)

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If you are interested in art by young artists here is a list you can look it and compare it with your own findings. According to Artsy these are the young emerging and established artists of 2019.

https://www.artsy.net/series/artsy-vanguard-2019

There is one favorite in the chapter

THE ARTISTS FINALLY RECEIVING THE ACCLAIM THEY DESERVE

Zilia Sanchez ise my personal favorites and her work is represented by galerie Lelong

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Cuban posters / Wim Crouwel 1971

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It is 1959 and the end of the Cuban Revolution is celebrated in the town of Havana. Since the beginning of the revolution many posters pro and contra have been published in Cuba and many of them have were great examples of political propaganda. These posters were recognized by the curators of the Stedelijk Museum as being important enough to present them in a special exhibition on Cuban posters. Wim Crouwel was asked to design the catalogue with this exhibition 1971, only 12 years after the end of the revolution .

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Because of the power of these posters he decided to use one of the most iconic on the cover. Simplicity all the way. Just the power of the South America shaped fist with simple typography made this one of my favorite catalogues in the seventies of the Stedelijk Museum. Of course it is available at www.ftn-books.com together with many other Stedelijk Museum / Crouwel designed catalogues