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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