 The public, astonished by the great
creativity of today’s Cuban Fine Arts, follows
each step of the renovated creations of the consecrated
artist of the moment and the constant arousal of new
talents. The Arts critics also maintain freshness. They
are able to reach conclusions without having on their
side the myth of the decantation of the artistic work
in time. Of course! They will always have to go back to the beginning
of this boom, when, in the second decade of the twentieth
century, Victor Manuel paints his Gitana Tropical (Tropical
Gypsy). With this work, this wild young painter leads
the group of plastic artists that rebel against the
most rigid academic tradition and five birth to modern
painting in Cuba.
They discovered the true face and the colorful soul
of the Island, pointed out the notorious expert Juan
Sánchez, about the most outstanding painters
and this first avant-garde generation. The most important:
Carlos Enríquez, Amelia Peláez, Fidelio
Ponce, Marcelo Pogolotti, Abela and Rabenet. From the
point on, and together with the most genuine of the
Cuban essences, they will follow the new techniques
and the cosmopolitan contributions as it corresponds
to an Island enriched by the mixture of the most diverse
culture.
It is vital, during the forties, to highlight the legacy
important painters such as Mariano Rodríquez,
René Portocarrero, Martínez Pedro, Felipe
Orlando, Cundo Bermúdez and, the new generation,
Carmelo González and Roberto Diago; and in the
fifties, José Bermúdez, Frayad Jamis and
Antonio Vidal.
 The creation of the national School of Art, in 1962,
the Superior Institute of Art in 1978, plus the constant
presence of San Alejandro´s Academy, an almost
bicentennial school, contribute to loosen and consolidate
this uncontrollable explosion of the new generation
of artists. Its children are painters the stay in the
summit of Fine Art of Cuba: Flavio Graciandía,
César Leal, Manuel Mendive, Roberto Fabelo, Zaida
del Río, Aldo Soler, Nelson Domínguez,
Flora Fong, Ever Fonseca, Juan Moreira, Alberto Lescay
and Manuel López Oliva, in an endless list that
involves a great number of young painters.
Under the difficult economic conditions in Cuba in
the last decade of the XX century, a growing international
market arises for those works that rebounded in the
peak of the easel painting and the domain of the techniques
linked to the new technologies. But after expressing
concepts related to the human being neither the most
exquisite painters give up the genders of difficult
marketing such as the installations.
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