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561:, Lam developed a new awareness of Afro-Cuban traditions. He noticed that the descendants of the slaves were still being oppressed and that the Afro-Cuban culture was degraded and made picturesque for the sake of tourism. He believed that Cuba was in danger of losing its African heritage and therefore sought to free them from cultural subjugation. In an interview with Max-Pol Fouchet, he said:
443:. Lam had begun to incorporate Surrealist techniques before his time in Europe, learning of artists like Matisse through publications and news from a friend. Throughout Lam's travels through the Spanish countryside, he developed empathy for the Spanish peasants, whose troubles in some ways mirrored those of the former slaves he grew up around in Cuba. At the outbreak of the
502:, Lam began producing stylized figures that appear to be influenced by Picasso. Much of his work in 1938 possessed emotional intensity; the subject matter ranged from interacting couples to women in despair and showed a considerably stronger African influence, seen in the figures' angular outlines and the synthesis of their bodies.
1223:"Wifredo Lam in North America," Haggerty Museum of Art, Marquette University, Milwaukee October 11, 2007 â January 21, 2008. Miami Art Museum, Miami, February 8 â May 18, 2008; Museum of Latin American Art, Long Beach, June 12âAugust 31, 2008; DalĂ Museum, St Petersburg (FL), October 2, 2008 â January 10, 2009.
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that Lam was interested the carvings on
African masks. Additionally, the iridescent quality of the forms enhances the painting's tropical feeling. The imagery of the tropics is also suggested with the densely packed cane stalks and palm leaves that merge with the figures, mirroring cosmological concepts from
329:, Lam melded his influences and created a unique style, which was ultimately characterized by the prominence of hybrid figures. This distinctive visual style of his also influences many artists. Though he was predominantly a painter, he also worked with sculpture, ceramics and printmaking in his later life.
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serves as a critique of the exoticizing lens placed on the
Atlantic as a byproduct of the colonial era. He sought to describe the reality of the Afro-Cuban experience of his time and gained acclaim and fame for doing so. The artwork is suggested to have challenged the colonial viewpoint. Furthermore,
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Opened in 1983, the
Wifredo Lam Center for Contemporary Art (in Spanish: Centro de Arte ContemporĂĄneo Wifredo Lam) is a state-run gallery in tribute to Lam and located in Havana, Cuba. This art gallery is responsible for the organization of the Bienal de la Habana, Cuba, a permanent art collection of
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Picasso also introduced him to Pierre Loeb, a
Parisian art dealer; Loeb gave Lam his first exhibition at the Galerie Pierre Loeb in 1939, which received an enthusiastic response from critics. Picasso and Lam also exhibited their work together at the Perls Galleries in New York in the same year. Lam's
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While Lam began simplifying his forms before he came into contact with
Picasso's work, it is apparent that Picasso had a significant impact on him. With regard to Picasso's exhibition, Lam said that it was "not only a revelation, but⊠a shock." Lam gained the approval of Picasso, whose encouragement
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Spanish tradition, his work soon became more simplified and decorative. Though his dislike for academic conservatism persisted, his time in Spain marked his technical development, in which he began to merge a primitive aesthetic and the traditions of
Western composition. It was in Paris that Lam was
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The four figures' elongated limbs lack definition, while much emphasis is placed on body parts, such as their large feet, round buttocks and breasts, and images under two of the figures' mouths that AdrĂan claims resemble male genitalia. There are also
African-inspired masked heads; scholars report
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religions where deities that inhabit elements in nature. The sugarcane in the painting is suggested to allude to the fields in which
African slaves owned by the Spanish and Portuguese worked. The figure on the far right holding the shears is thought to be harvesting the sugarcane and figure on the
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Additionally, his time in Cuba marked a rapid evolution of his style. Drawing from his study of tropical plants and familiarity with Afro-Cuban culture, his paintings became characterized by the presence of a hybrid figureâpart human, part animal, and part vegetal. His style was also distinctive
882:. Art historian Doris Maria-Reina Bravo argues that the intensive labor in which many had to participate in Cuba as suggested by the artwork strongly differs from the way tourists viewed Cuba. She claims that during the time of the artwork's creation, tourists viewed Cuba as a "playground".
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on Italy's northwest coast and settled there with his wife Lou Laurin, a
Swedish painter, and their three sons. In 1964, he was awarded the Guggenheim International Award and between 1966 and 1967 there were many retrospectives of his work throughout Europe. At the encouragement of
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ceremonies, although he later said that his contact with the
African spirituality that he found throughout the Americas did not directly impact his formal style. African poetry, on the other hand, was said to have had a broadening effect on his paintings. In 1950, he worked with
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to study law, a path that his family had thrust upon him. Simultaneously he also began studying tropical plants at the Botanical Gardens. From 1918 to 1923, Lam studied painting at the Escuela de Bellas Artes. However, he disliked both academic teaching and painting. He left for
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and after being intrigued by the local pottery-making, Lam began to experiment with ceramics and had his first ceramic exhibition in 1975. He progressed to model sculptures and cast in metal in his twilight years, often depicting personages similar to those he had painted.
726:, Lam was influenced by the Afro-Cubans of that time. He dramatically synthesized the Surrealist and Cubist strategies while incorporating the iconography and spirit of Afro-Cuban religion. For that reason, his work does not belong to any particular art movement.
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father and his father, Yam Lam, was a Chinese immigrant. In Sagua La Grande, Lam was surrounded by many people of African descent; his family, like many others, practiced Catholicism alongside their African traditions. Through his godmother, Matonica Wilson, a
1244:"Wifredo Lam," MusĂ©e national d'Art Moderne, Centre Georges Pompidou, Paris, September 30, 2015 â February 15, 2016; Museo Nacional Centro de Arte Reina Sofia, Madrid, April 5-August 15, 2016; Tate Modern, London, September 14, 2016 â January 8, 2017.
873:; he sheds light on the absurdity that has become Afro-Cuban culture and more specifically on the way Afro-Cuban traditions were cheapened for tourism. Specifically, Caribbean and Atlantic studies scholar Francisco-J. HernĂĄndez AdriĂĄn suggests that
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in 1955 to demonstrate his support for the students' protests against Batista's dictatorship. Similarly, in 1965, six years after the revolution, he showed his loyalty to Castro and his goals of social and economic equality by painting
1198:"Homenaje a Wifredo Lam 1902â1982." Museo Nacional de Arte Contemporaneo, Madrid, October 20âDecember 12, 1982; MusĂ©e d'Ixelles, Brussels, January 7âMarch 6, 1983; MusĂ©e d'Art Moderne de la Ville de Paris, Paris, March 23âMay 22, 1983.
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HernĂĄndez AdriĂĄn claims that the imagery of the artwork reflects the constant struggles black people faced in Cuban society. Specifically, one of the central struggles in the artwork is the slave labor suggested by the sugar cane in
894:(1962) for âŹ4.44m ($ 5.24m), which established a new record price for the painter. The work was sold as part of the Alain and Candice Fraiberger collection. The previous record for the artist was set in May 2012, when
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The somber palette containing a mixture of blue, green, yellow, and white suggests a hidden moonlit scene, perhaps a reference to the secret practice of African religions among enslaved peoples. The usage of color in
1201:"Wifredo Lam, Prints." Central Institute of Fine Arts, Beijing; Palace of Fine Arts, ShanghaĂŻ; Institute of Fine Arts, Hangzhou, Institute of Fine Arts; Guangzhou; Art Center, Hong Kong, September 1991âMarch, 1992.
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He held the belief that society focused too much on the individual and sought to show humanity as a whole in his artwork. He painted generic figures, creating the universal. To further his goal, he often painted
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led to Lam and his second wife experiencing discrimination from the largely nonwhite Cuban population. Upon his return to Cuba, Lam moved away from the cosmopolitan art community and experimented more with Cuban
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far left resembles a horse and is suspected to represent a figure from Afro-Cuban mythology. Although the sugarcane provides some potential context to the artwork, there is no specific geographic location where
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Secret Society, he was familiar with the practices, as cultural participation was widespread in Cuba. His contact with African celebrations and spiritual practices proved to be his largest artistic influence.
1247:"The Drawings of Wifredo Lam: 1940â1955. From the personal collection of Juan Castillo VĂĄzquez, Havana, Cuba." Lehigh University Art Galleries, Zoellner Arts Center, Bethlehem PA, August 30âDecember 10, 2017.
447:, he sided with the Republicans in 1936-1937 and used his talent to fashion Republican posters and propaganda. Drafted to defend Madrid, Lam was incapacitated during the fighting in late 1937 and was sent to
415:. In the mornings he would attend his conservative teacher's studio, while he spent his evenings working alongside young, nonconformist painters. At the Prado, he discovered and was awed by the work of
1192:, Hanover, December 16, 1966 â January 16, 1967; Stedelijk Museum, January 26âMarch 12, 1967; Moderna Museet, Stockholm, April 8âMay 7, 1967; Palais des Beaux-Arts, Brussels, May 18âJune 18, 1967.
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Wifredo Lam died on September 11, 1982, in Paris, aged 79. Having had more than one hundred personal exhibitions around the world, Lam had a well established reputation by the time of his death.
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Catherine David (ed.), exhibition catalogue, Centre Georges Pompidou, Paris, Museo Nacional Centro de Arte Reina Sofia, Madrid, Tate Modern, London, Editions du Centre Pompidou, Paris, 2015
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and others; in the village of Santiago de Las Vegas, the group of painters worked on ceramic. Lam settled in Paris in 1952 after having divided his time between Cuba, New York, and France.
565:"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
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578:. It reflected his mature style, depicting four figures with mask-like heads, half-emerging from dense tropical vegetation. Later that year it was shown in an exhibition at the
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can also be viewed as occurring during the day in depths of a jungle. Furthermore, historians suggest that the usage of red and orange in the color palette represent blood.
617:. Although these two paintings were created thirty-six years apart and have different cultural contexts, they both depict women in a sexualized context and both contain
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1226:"Wifredo Lam, gravuras," Caixa Cultural de Rio de Janeiro, Rio de Janeiro, October 22âJanuary 3, 2010; Pinacoteca de Estado, SĂŁo Paulo, February 27âMay 2, 2010.
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1238:"Wifredo Lam, Imagining New Worlds, McMullen Museum of Art," Boston, August 30âDecember 14, 2014; High Museum of Art, Atlanta, February 10âMay 24, 2015.
1211:"Wifredo Lam." Museo Nacional Centreo de Arte Reina Sofia, Madrid, September 29âDecember 14, 1992; Fundacio MirĂł, Barcelona, January, 21âMarch 21, 1993.
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was not, however, intended to describe the primitivism of Cuba. Rather, Lam's intention was to depict a spiritual stateâwhich is surely inspired by
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Lam, like many of the most renowned artists of the 20th century, combined radical modern styles with the "primitive" arts of the Americas. While
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1195:"Wifredo Lam." Ordrupgaard, Charlottenlund (Denmark), September 14âOctober 15, 1978; Sonja Henie, Niels Onstad Foundation, HĂžvikkoden (Norway),
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In 1938, Lam moved to Paris. He quickly gained the support of Picasso, who introduced him to many of the leading artists of the time, such as
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because of its fusion of Surrealist and Cubist approaches with imagery and symbols from SanterĂa. In 1943, he began his best-known work,
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is supposed to occur. Scholars suggest that this lack of specificity makes orients the artwork towards a more universal audience.
1235:"CĂ©saire, Lam, Picasso, Nous nous sommes trouvĂ©s," Fondation ClĂ©ment, Le François (Martinique), December 6, 2013 â March 2, 2014.
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that defined his style. In 1944, he married Helana Holzer, whom he divorced in 1950. In 1946, he and Breton spent four months in
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1229:"Wifredo Lam 1902â1982: Voyages entre caraĂŻbes et avant-gardes," MusĂ©e des Beaux-Arts de Nantes, France, May 6âAugust 29, 2010.
902:) sold for $ 4.56m. A new record was established on June 28, 2020, when Sotheby's auctioned Lam's "Omi Obini" for $ 9,603,800.
660:. There Lam enriched his already extensive understanding and knowledge of African divinity and magic rituals through observing
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exposed to conventions of African sculpture. In 1929, he married Eva Piriz, but both she and their young son died in 1931 of
1232:"CĂ©saire, Lam, Picasso, Nous nous sommes trouvĂ©s," Galerie nationales du Grand Palais, Paris, France, March 16âJune 6, 2011.
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1217:"Wifredo Lam: The Changing Image, Centennial Exhibition." Yokohama Museum of Art, Yokohama, October 2002âJanuary 2003.
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Lam continued to simplify and synthesize abstraction yet continued painting figurally; he also kept on developing the
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styles. Cuban artists have accused Lam of being an impostor when it comes to his artwork and his identity as a Cuban.
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1220:"Wifredo Lam et les poĂštes." MusĂ©e Campredon, Maison RenĂ© Char, L'Isle sur la Sorgue, France, July 7âOctober 2, 2005.
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spirit and culture. Inspired by and in contact with some of the most renowned artists of the 20th century, including
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2018:, Editors Vicente Baez, Virilio Pinera, Calvert Casey, and Anton Arrufat; Ediciones Revolucion, Havana, Cuba, 1962.
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that would spew forth hallucinating figures with the power to surprise, to disturb the dreams of the exploiters."
1188:"Wifredo Lam Malerei, Vic Gentils Bildhauerei." Kunsthalle, Basel, September 10âOctober 9, 1966; "Wifredo Lam."
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1158:"Drawings by Picasso and Gouaches by Wifredo Lam." Perls Gallery, New York. November 13âDecember 2, 1939.
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1833:"Doble desnudo II - mujeres recostadas (Double Nude II â Reclining Women) âą PĂ©rez Art Museum Miami"
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HernĂĄndez AdriĂĄn, Francisco-J. (2009). "Paris, Cuba, New York: Wifredo Lam and the Lost Origins of
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Wifredo Lam, the Ey Exhibition. London, Tate Modern Gallery (September 14, 2016 â January 8, 2017).
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approx. 1000 works, and research and study of contemporary visual arts in developing countries.
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1683:"PĂ©rez Art Museum Miami Announces Latin American and Latinx Art Fund âą PĂ©rez Art Museum Miami"
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Gallery in New York, where it created controversy. The painting depicted the tension between
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in 1939. While in Marseille, Lam and Breton collaborated on the publication of Breton's poem
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HernĂĄndez AdriĂĄn, Francisco-J. "Paris, Cuba, New York: Wifredo Lam and the Lost Origins of
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suite, only about three inspired the illustrations for the poem. In 1941, Breton, Lam and
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Lam, who continued to sympathize with the common man, exhibited a series of paintings at
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1176:"The Cuban Painter Wifredo Lam." The London Gallery, London. November 5â30, 1946.
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1167:"Lam Paintings." Pierre Matisse Gallery, New York. November 20âDecember 8, 1945.
1161:"Lam Paintings." Pierre Matisse Gallery, New York. November 17âDecember 5, 1942.
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has been said to have led Lam to search for his own interpretation of modernism.
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Sims, Lowery Stokes (2002). "The Painter's Line: The Drawings of Wifredo Lam".
1173:"Lam" Centre d'Art Galerie, Port-au-Prince, HaĂŻti, January 24âFebruary 3, 1946.
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During the 1930s, Lam was exposed to a variety of influences. The influence of
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1214:"Lam mĂ©tis." Fondation Dapper, Paris, September 26, 2001 â January 20, 2002.
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Mosquera, Gerardo (1997). "Riding Modernism: Wifredo Lam's Decenterings".
1179:"Lam: Obras Recientes 1950." Parque Central, Havana. October 2â15, 1950.
1155:"Wifredo Lam Peintures." Galerie Pierre, Paris. June 30 â July 14, 1939.
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1185:"Wifredo Lam." University of Notre Dame, Notre Dame, January 8â22, 1961.
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Doble desnudo II â mujeres recostadas (Double Nude II â Reclining Women)
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517:, France, in 1940. There he rejoined many intellectuals, including the
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Victor Moreno â ein kubanischer Maler, Vielflieger VerlagHabana, 1950.
1935:, Barcelona, 1976; Cercle d'Art, Paris, 1976; Rizzoli, New York, 1978.
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The combination of African ideas with a European style in Lam's work,
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1164:"Lam Paintings." Pierre Matisse Gallery, New York. June 6â24, 1944.
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Ediciones Vanguardia Cubana. Libros de Pintura Cubana, Wifredo Lam
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Lam, Eskil, Dolega-Ritter, Dorota, Tonneau-Ryckelynck, Dominique.
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Wifredo Lam y su obra vista a través de su significados criticos
1988:, Fratelli Fabri, Milan, 1970; Harry N. Abrams, New York, 1970.
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In 2015, a retrospective exhibition of his works opened at the
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1182:"Wifredo Lam." Museo de Bellas Artes, Caracas, May 8â22, 1955.
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1857:"La Table blanche (The White Table) âą PĂ©rez Art Museum Miami"
1170:"Wifredo Lam." Galerie Pierre, Paris. December 12â31, 1945.
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work went from showing the influence of Matisse, seen in his
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Wifredo Lam, Ćuvre gravĂ© et lithographiĂ©, Catalogue RaisonnĂ©
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Catalogue RaisonnĂ© of the Painted Work, Volume II, 1961â1982
951:. 1948. Howard University Gallery of Art, Washington, D.C.
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Catalogue RaisonnĂ© of the Painted Work, Volume I, 1923â1960
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Nessen, Susan. "Review: Multiculturalism in the Americas."
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artists. Among the artists featured in the exhibition were
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395:, Spain, in the autumn of 1923 to further his art studies.
927:. 1938. Collection Conseil général de Martinique, France
478:. In his trip to Mexico in the same year, Lam stayed with
305:; December 8, 1902 â September 11, 1982), better known as
1775:. 2nd ed. London, England: Thames & Hudson Ltd, 2004.
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Wifredo Lam and the International Avant-Garde, 1923â1982
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Wifredo Lam and the International Avant-Garde, 1923â1982
1395:. Grove Art Online. 1999-09-27. Oxford University Press.
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and the invasion of Paris by the Germans, Lam left for
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Academia Nacional de Bellas Artes San Alejandro alumni
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Wifredo and Helena: My Life with Wifredo Lam 1939â1950
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SalĂłn de Mayo, 1967. Sidewalk insert in front of the
1881:"La ventana I (The Window) âą PĂ©rez Art Museum Miami"
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Another work of Picasso's that has been compared to
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49:. Unsourced material may be challenged and removed.
1416:"Guggenheim Collection - Artist - Lam - Biography"
1204:"Wifredo Lam: A Retrospective of Works on Paper."
1958:Catalogue RaisonnĂ©, Prints, Estampes, Grafica, çç»
1499:. Austin, Texas: University of Texas Press, 2002.
756:In 2019, his work was included in the group show
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521:, with whom he had been associated since he met
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1995:, Publicaciones del ministerio de Educacion, La
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1917:Dias Ramos, Afonso. 2016. "The Ey Exhibition:
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1919:Wifredo Lam." Cuba Counterpoints, Dec 1, 2016
1479:Richards, Paulette. "Wifredo Lam: a Sketch."
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341:, a village in the sugar farming province of
285:Wifredo Ăscar de la ConcepciĂłn Lam y Castilla
170:Wifredo Ăscar de la ConcepciĂłn Lam y Castilla
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1341:Wifredo Lam and His Contemporaries 1938â1952
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1628:"Centro de Arte ContemporĂĄneo Wifredo Lam"
1599:"Centro de Arte ContemporĂĄneo Wifredo Lam"
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890:On December 6, 2017, Sotheby's sold Lam's
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1142:Learn how and when to remove this message
366:, he was exposed to rites of the African
247:Lou Laurin (1960â1982; his death, 3 sons)
109:Learn how and when to remove this message
2936:Exposition Internationale du Surréalisme
2012:, Ăditions du MusĂ©e de Gravelines, 1994.
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405:Fernando Ălvarez de Sotomayor y Zaragoza
301:
268:
2005:, Texas University Press, Austin, 2002.
1464:
537:, accompanied by many others, left for
2974:
1773:Latin American Art of the 20th Century
1724:"MoMA | Wifredo Lam. The Jungle. 1943"
1491:
1489:
1409:"Wifredo Lam." Guggenheim Collection.
1059:. 1964. Museum of Modern Art, Brussels
944:Museo Nacional de Bellas Artes, Havana
621:and Cubist elements in their designs.
2094:
1953:, Editions Georges Fall, Paris, 1970.
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1028:Hirshhorn Museum and Sculpture Garden
370:. While Lam was never initiated into
1443:
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1385:
1124:adding citations to reliable sources
1095:
47:adding citations to reliable sources
18:
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1359:Journal of Contemporary African Art
916:Museum of Contemporary Art, Chicago
861:
398:
337:Wifredo Lam was born and raised in
13:
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992:La Table Blanche (The White Table)
358:priestess locally celebrated as a
14:
3063:
2890:The Surrealist Group in Stockholm
2056:Museum of Modern Art's Collection
2022:
1652:Ramos, Afonso Dias (2016-12-01).
1585:, Felix Busse, Vielflieger Verlag
1434:
1654:"THE EY EXHIBITION: WIFREDO LAM"
1258:
1100:
594:was ultimately purchased by the
349:former slave mother and a Cuban
243:Eva Piriz (1929â1931; her death)
23:
3047:People of the Spanish Civil War
3017:Cuban people of Chinese descent
2992:20th-century Cuban male artists
2008:Tonneau-Ryckelynck, Dominique.
1901:
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1111:needs additional citations for
900:Oya/Divinit de l'air de la mort
892:A Trois Centimetres de la Terre
745:in Paris, set to travel to the
586:and the vibrancy and energy of
544:
34:needs additional citations for
2120:
1350:
1286:
1091:
959:Museum of Modern Art, New York
292:
263:Guggenheim International Award
1:
3022:Cuban people of Kongo descent
2835:Bureau of Surrealist Research
1981:, H.C. Ăditions, Paris, 2009.
1970:Laurin-Lam, Lou, Lam, Eskil.
1279:
1087:. 1945. Galerie Lelong, Paris
1016:. 1947. Galerie Lelong, Paris
885:
803:
332:
2061:Online Gallery of Lam's art.
2029:Wifredo Lam Official Website
1960:, H.C Ăditions, Paris, 2016.
1605:. 2013-12-11. Archived from
1411:Solomon R. Guggenheim Museum
796:(Cuba), Tunga (Brazil), and
279:Solomon R. Guggenheim Museum
125:, the first or paternal
7:
3042:People from Sagua la Grande
3007:Cuban expatriates in France
2997:20th-century Cuban painters
1815:"Sotheby's 12/06/17 Lot 11"
1791:"Lam, The Jungle (article)"
1251:
968:Museum of Fine Arts, Boston
905:
10:
3068:
3012:Cuban expatriates in Spain
1924:December 12, 2019, at the
1339:Balderrama, Maria R., ed.
1042:Indianapolis Museum of Art
120:
2961:Paranoiac-critical method
2898:
2807:
2504:
2128:
1974:, Acatos, Lausanne, 2002.
1967:, Acatos, Lausanne, 1996.
1911:, Acatos, Lausanne, 1999.
1515:52 (1993): 86â91. JSTOR.
1371:10.1215/10757163-6-7-1-16
1030:, Smithsonian Institution
709:
614:Les Demoiselles d'Avignon
259:
251:
245:Helena Holzer (1944â1950)
239:
222:
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165:
149:
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3027:Cuban surrealist artists
2845:Chicago Surrealist Group
2830:British Surrealist Group
1562:10.1177/0921374008350292
1483:34 (1988): 90â92. JSTOR.
1067:Art Institute of Chicago
836:Elements of the painting
678:Radiocentro CMQ Building
16:Cuban artist (1902â1982)
2073:Portrait of Wifredo Lam
1345:Studio Museum in Harlem
983:La Chevelure (The Mane)
743:Centre Georges Pompidou
640:Lam with fellow artist
553:Lam in his studio, 1964
277:, oil on canvas, 1950,
2956:Abstract expressionism
2825:Birmingham Surrealists
2514:Maxime Moses Alexandre
2491:Radojica ĆœivanoviÄ Noe
2156:Jacques-André Boiffard
1933:Wifredo Lam, Poligrafa
1885:PĂ©rez Art Museum Miami
1861:PĂ©rez Art Museum Miami
1837:PĂ©rez Art Museum Miami
1687:PĂ©rez Art Museum Miami
1054:
1035:
1021:
1011:
1005:PĂ©rez Art Museum Miami
996:PĂ©rez Art Museum Miami
987:PĂ©rez Art Museum Miami
935:PĂ©rez Art Museum Miami
922:
826:
762:PĂ©rez Art Museum Miami
753:in London afterwards.
722:drew inspiration from
681:
645:
571:
554:
498:. Mainly working with
386:In 1916, Lam moved to
281:
3037:Cuban modern painters
2926:Surrealist techniques
2911:Surrealist automatism
2855:Fighting Cock Society
2594:Roger Gilbert-Lecomte
2579:Vratislav Effenberger
2519:Guillaume Apollinaire
1771:Lucie-Smith, Edward.
979:, University of Miami
813:
720:JoaquĂn Torres GarcĂa
675:
639:
563:
552:
509:With the outbreak of
407:, the curator of the
272:
160:photographic archives
2906:Surrealist Manifesto
2860:The Firesign Theatre
2644:Comte de Lautréamont
1977:Leenhardt, Jacques,
1946:21.3 (2009): 339â59.
1120:improve this article
1055:Les enfants sans Ăąme
1003:(The Window). 1935.
824:Museum of Modern Art
596:Museum of Modern Art
233:Museum of Modern Art
43:improve this article
3032:Cuban male painters
2794:Marianne Van Hirtum
2769:Simon Watson Taylor
2231:Christian Dotremont
1190:Kestnergesellschaft
557:Upon his return to
535:Claude LĂ©vi-Strauss
3052:Surrealist artists
2271:Alberto Giacometti
2261:Gordon Onslow Ford
2196:Leonora Carrington
2066:2019-12-12 at the
2039:2018-07-22 at the
1931:Fouchet, Max-Pol.
1658:Cuba Counterpoints
1460:– via JSTOR.
1446:Master Drawings 40
1298:Latin American Art
1079:The Shadow of Days
973:Homenaje a jicotea
827:
747:Reina Sofia Museum
682:
646:
555:
282:
275:Zambezia, Zambezia
195:September 11, 1982
2969:
2968:
2946:Women surrealists
2916:Surrealist cinema
2764:Philippe Soupault
2396:BenjamĂn Palencia
2001:Sims, Lowery, S.
1991:Ortiz, Fernando.
1963:Laurin-Lam, Lou.
1949:Jouffroy, Alain.
1944:Cultural Dynamics
1907:Benitez, Helena.
1603:Havana City Guide
1550:Cultural Dynamics
1152:
1151:
1144:
1036:L'Espirit aveugle
749:in Spain and the
724:Pre-Columbian art
686:Havana University
667:René Portocarrero
445:Spanish Civil War
267:
266:
119:
118:
111:
93:
3059:
2921:Surrealist music
2840:Chicago Imagists
2820:Les Automatistes
2759:Louis Scutenaire
2699:VĂtÄzslav Nezval
2539:Georges Bataille
2456:Dorothea Tanning
2441:JindĆich Ć tyrskĂœ
2416:Aminollah Rezaei
2311:Jacqueline Lamba
2301:Gerome Kamrowski
2246:Curt Echtermeyer
2201:Ithell Colquhoun
2115:
2108:
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2016:Pintores Cubanos
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1495:Sims, Lowery S.
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1418:. Archived from
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1343:. New York: The
1337:
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1206:Americas Society
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1063:Mother and Child
1057:
1038:
1024:
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925:
923:Deux personnages
862:Cultural context
822:on paper, 1943,
778:Teresa Margolles
695:Albissola Marina
642:Manuel Carbonell
421:Pieter Bruegel I
417:Hieronymus Bosch
399:Career in Europe
303:
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173:December 8, 1902
158:José Gómez-Sicre
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2734:Raymond Queneau
2729:Jacques Prévert
2719:Rastko PetroviÄ
2679:Robert Melville
2659:Georges Limbour
2639:Philip Lamantia
2544:Monny de Boully
2506:
2500:
2486:James F. Walker
2476:Albert Valentin
2466:Kristians Tonny
2436:Martin Stejskal
2411:Toni del Renzio
2391:Wolfgang Paalen
2386:MĂ©ret Oppenheim
2366:E. L. T. Mesens
2331:Georges Malkine
2266:Esteban Francés
2226:Ăscar DomĂnguez
2181:Jacques Brunius
2176:Emmy Bridgwater
2124:
2119:
2068:Wayback Machine
2046:Lam's biography
2041:Wayback Machine
2025:
1984:Leiris, Michel.
1926:Wayback Machine
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977:Lowe Art Museum
942:. 1965â1966.
940:El Tercer Mundo
908:
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864:
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758:The Gift of Art
712:
691:El Tercer Mundo
680:by Wifredo Lam.
588:African culture
547:
411:and teacher of
409:Museo del Prado
401:
339:Sagua La Grande
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2754:Georges Sadoul
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2744:Pierre Reverdy
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2714:Benjamin PĂ©ret
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2694:Pierre Naville
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2649:Marcel Lecomte
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2614:Georges Hugnet
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1556:(3): 339â359.
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1393:"Lam, Wifredo"
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1365:(6â7): 16â21.
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1294:"Wifredo Lam"
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1132:December 2019
1125:
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1109:This section
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814:Wifredo Lam,
812:
806:
801:
799:
795:
794:Zilia SĂĄnchez
791:
790:Amelia PelĂĄez
787:
786:Oscar Murillo
783:
782:Roberto Matta
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487:
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477:
473:
469:
468:Henri Matisse
465:
464:Fernand LĂ©ger
460:
458:
454:
450:
446:
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441:Henri Matisse
438:
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413:Salvador DalĂ
410:
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316:
315:Pablo Picasso
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99:December 2019
91:
88:
84:
81:
77:
74:
70:
67:
63:
60: â
59:
58:"Wifredo Lam"
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
2885:Refus Global
2880:Monty Python
2799:Roger Vitrac
2779:Dylan Thomas
2749:Marko RistiÄ
2739:Herbert Read
2624:Nelly Kaplan
2619:Alfred Jarry
2609:IrĂšne Hamoir
2604:Julien Gracq
2549:André Breton
2524:Louis Aragon
2431:André Souris
2356:Oscar Mellor
2341:André Masson
2305:
2221:Paul Delvaux
2191:Claude Cahun
2151:Hans Bellmer
2146:EugĂšne Atget
2086:Smarthistory
2083:
2015:
2009:
2002:
1992:
1985:
1978:
1971:
1964:
1957:
1950:
1943:
1939:
1932:
1908:
1902:Bibliography
1888:. Retrieved
1884:
1875:
1864:. Retrieved
1860:
1851:
1840:. Retrieved
1836:
1827:
1819:the original
1809:
1798:. Retrieved
1795:Khan Academy
1794:
1772:
1767:
1755:. Retrieved
1752:MoMALearning
1751:
1748:"The Jungle"
1742:
1731:. Retrieved
1728:www.moma.org
1727:
1690:. Retrieved
1686:
1677:
1666:. Retrieved
1662:the original
1657:
1647:
1636:. Retrieved
1634:. 2017-03-22
1632:www.afar.com
1631:
1622:
1611:. Retrieved
1607:the original
1602:
1582:
1578:
1553:
1549:
1545:
1512:
1496:
1480:
1452:(1): 57â72.
1449:
1445:
1424:. Retrieved
1420:the original
1391:Alley, Rin.
1387:
1362:
1358:
1352:
1340:
1301:. Retrieved
1297:
1288:
1138:
1129:
1118:Please help
1113:verification
1110:
1084:
1078:
1072:
1062:
1052:
1046:
1033:
1019:
1009:
1001:La Ventana I
1000:
991:
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879:
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866:
865:
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852:
847:
839:
829:
828:
815:
804:
788:(Colombia),
757:
755:
740:
736:
728:
716:Diego Rivera
713:
705:
690:
683:
647:
625:
623:
612:
608:
606:
599:
591:
575:
572:
567:Trojan horse
564:
556:
545:Havana years
531:Fata Morgana
530:
527:Fata Morgana
526:
523:André Breton
511:World War II
508:
504:
488:
484:Diego Rivera
461:
453:Manolo Hugué
434:
430:tuberculosis
402:
385:
336:
327:Diego Rivera
306:
300:
284:
283:
274:
228:
224:Notable work
134:
130:
123:Spanish name
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
2987:1982 deaths
2982:1902 births
2674:DuĆĄan MatiÄ
2584:Paul Ăluard
2569:René Daumal
2564:René Crevel
2505:Writers and
2461:Karel Teige
2451:Yves Tanguy
2306:Wifredo Lam
2296:Frida Kahlo
2256:Leonor Fini
2186:Luis Buñuel
2161:Bill Brandt
2136:Eileen Agar
1986:Wifredo Lam
1757:November 8,
1513:Art Journal
1266:Cuba portal
1092:Exhibitions
1012:Le guerrier
751:Tate Museum
631:avant-garde
619:primitivist
519:Surrealists
492:still lifes
480:Frida Kahlo
343:Villa Clara
323:Frida Kahlo
307:Wifredo Lam
235:collection.
144:Wifredo Lam
2976:Categories
2870:Grup d'Elx
2850:Dau al Set
2704:Paul Nougé
2689:Max Morise
2684:René Ménil
2496:Unica ZĂŒrn
2371:Lee Miller
2122:Surrealism
2084:The Jungle
2077:Braun-Vega
2050:Guggenheim
1940:The Jungle
1890:2023-09-06
1866:2023-09-06
1842:2023-09-06
1800:2021-03-26
1733:2021-03-17
1692:2023-04-05
1668:2019-12-12
1638:2019-12-12
1613:2019-12-12
1546:The Jungle
1426:2006-01-06
1303:2021-09-08
1280:References
1065:. 1939.
955:The Jungle
914:. 1942.
886:Art market
880:The Jungle
875:The Jungle
867:The Jungle
856:The Jungle
848:The Jungle
843:Afro-Cuban
830:The Jungle
816:The Jungle
805:The Jungle
780:(Mexico),
774:José Bedia
700:Asger Jorn
626:The Jungle
609:The Jungle
592:The Jungle
576:The Jungle
539:Martinique
437:Surrealism
376:Palo Monte
333:Early life
311:Afro-Cuban
229:The Jungle
199:1982-09-12
177:1902-12-08
69:newspapers
2865:The Goons
2709:Paul PÄun
2664:LĂ©o Malet
2629:Petr KrĂĄl
2599:Yvan Goll
2507:Theorists
2381:Joan MirĂł
2316:Dora Maar
2251:Max Ernst
2206:Gala DalĂ
1570:220712511
1379:191522394
1274:Cuban art
1069:, Chicago
784:(Chile),
650:mythology
584:Modernism
515:Marseille
476:Joan MirĂł
449:Barcelona
425:modernist
364:sorceress
347:Congolese
240:Spouse(s)
203:(aged 79)
2815:Acéphale
2421:Kay Sage
2141:Jean Arp
2064:Archived
2052:website.
2037:Archived
1922:Archived
1481:Callaloo
1252:See also
1085:Untitled
1047:Lisamona
1040:. 1948.
1026:. 1947.
994:. 1939.
985:. 1945.
966:. 1943.
964:Untitled
933:. 1937.
906:Artworks
871:SanterĂa
800:(Cuba).
792:(Cuba),
776:(Cuba),
654:totemism
601:Guernica
372:SanterĂa
356:SanterĂa
297:Jyutping
252:Children
231:(1943),
218:Painting
209:, France
135:Castilla
121:In this
2899:Related
2406:Man Ray
2129:Artists
2079:(1979).
2048:at the
1458:1554554
1347:, 1992.
1022:Le Reve
820:gouache
662:Voodoun
500:gouache
457:Picasso
368:orishas
351:mulatto
289:Chinese
197: (
175: (
127:surname
83:scholar
2808:Groups
1568:
1456:
1377:
1081:. 1970
766:Latinx
710:Legacy
644:(1952)
559:Havana
496:Cubism
393:Madrid
388:Havana
380:AbakuĂĄ
360:healer
299::
291::
273:Lam's
260:Awards
186:, Cuba
85:
78:
71:
64:
56:
2471:Toyen
1566:S2CID
1454:JSTOR
1375:S2CID
1073:Satan
949:Exodo
912:Anamu
896:Idolo
760:, at
658:Haiti
378:, or
207:Paris
156:From
90:JSTOR
76:books
2951:Dada
1759:2020
768:and
732:mask
718:and
652:and
482:and
474:and
419:and
362:and
325:and
192:Died
166:Born
62:news
2075:by
1979:Lam
1951:Lam
1942:",
1558:doi
1548:".
1367:doi
1363:6â7
1122:by
611:is
293:æéŁéŸ
131:Lam
129:is
45:by
2978::
1883:.
1859:.
1835:.
1793:.
1780:^
1750:.
1726:.
1701:^
1685:.
1656:.
1630:.
1601:.
1590:^
1564:.
1554:21
1552:.
1520:^
1504:^
1488:^
1466:^
1448:.
1436:^
1413:.
1400:^
1373:.
1361:.
1312:^
1296:.
818:,
590:.
486:.
470:,
466:,
374:,
321:,
317:,
295:;
2114:e
2107:t
2100:v
1928:.
1893:.
1869:.
1845:.
1803:.
1761:.
1736:.
1695:.
1671:.
1641:.
1616:.
1572:.
1560::
1450:1
1431:.
1429:.
1381:.
1369::
1306:.
1145:)
1139:(
1134:)
1130:(
1116:.
898:(
287:(
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201:)
179:)
137:.
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
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