Amelia Pelaéz - Five Decades of Amelia Pelaéz

Amelia PelaĂŠz

Five Decades of Amelia Pelaez 1920s to the 1960s Cernuda Arte

The exhibition Five Decades of Amelia PelaĂŠz, 1920s to the 1960s, on display at Cernuda Arte.

Cover: Flower Vase on a Lace Tablecloth (JarrĂłn de Flores sobre Mantel de Encaje), 1960 mixed media on heavy paper laid down on board, 31 x 25 inches

Amelia Pelaéz Five Decades of Amelia Pelaez 1920s to the 1960s Summer 2020

Cernuda Arte

3155 Ponce de León Boulevard, Coral Gables, Fl 33134-6825

Five Decades of Amelia Pelaez 1920s to the 1960s Considered a grand master of modern Cuban art, and a seminal figure in 20th century Latin American painting, Amelia Pelaéz is one of the most acclaimed artists of her times.

Her contribution to the avant-garde women’s movement in the arts- internationally speaking- was a palmary achievement.

Just like Frida Kahlo in Mexico and Tarsila do Amaral in Brazil, Amelia -with her strong artistic voice- was able to break through the male dominant avant-garde movement of the era, eventually becoming a pioneer of Modernism in Cuba.

An extraordinary exhibition that exalted Amelia’s stardom as one of the leading modern masters of Latin American art was the 1997 traveling show entitled, Tarsila, Frida y Amelia at the Centre Cultural de la Fundación “la Caixa” in Madrid and Barcelona, Spain.

The artist was first trained in and graduated from San Alejandro Academy in Havana under the academic mindset that prevailed in this art school. There, she excelled in painting, drawing, ceramics and muralism.

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Photo of Amelia Pelaéz in her studio.

In 1924, the artist went on to travel to New York where she studied at The Arts Student League. Later on, in 1927, she traveled to Europe, visited Spain, Italy, and lived in Paris until 1934. It was in the City of Light where Amelia absorbed the European avantgarde movements. Matisse, Leger, Picasso, Braque and Gris, among others, shaped her imagery.

European trends such as Cubism, Fauvism and the Russian Avant Garde aided in enriching the traditional instruction she had received in San Alejandro. It was then that Amelia began to forge her own artistic vocabulary, marked with her superb force and sensibility.

While in Paris, she studied at the Academié de la Grande Chaumière, and later entered the École Supérieure des Beaux-Arts, and the École du Louvre. To broaden her knowledge, she visited an array of museums, mingled with the social artistic circles of the city, and became a close friend of the Cuban writer and intellectual, Lydia Cabrera who at that time was also living in Paris. Her studies in design and color theory with Russian avant-garde artist, Alexandra Exter (from 1931 to 1934) expanded the development of her formal training and awakened her interest in Cubism.

Peláez earned her peers’ admiration in Europe with her first Parisian solo show in 1933 at the prestigious Galerie Zak, which at the time was a most important venue for contemporary art exhibitions -staging works by Chagall, Picasso, Modigliani and Gris, among others. To exhibit at Galerie Zak implied a level of recognition that elevated Amelia in the eyes of the arts community.

In 1934, Amelia returned to Cuba at the age of 37. She then joined the active cultural circles in the island. A year later, the artist showcased her European works at the Lyceum, an important forum for female painters.

In Havana, the artist established her studio in her beloved home in La Víbora district and worked with quiet determination. During the 1940s, Amelia perfected her craft and grounded her signature cubist style. (continued on next page)

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The artistic circles in Cuba were much captivated by her work, which was featured and lauded in various solo and group exhibitions where she garnered several salon prizes.

She was one of the few women who were selected to participate in the important Art in Cuba show at the University of Havana in 1940. Her first retrospective took place at the Institución Hispano-Cubana de Cultura in 1943. By this time, Amelia played a vital role as a key disseminator of a new national culture that engaged not only with the island’s emerging modern art scene, but also, with the broader international narratives of modernity.

Moreover, in 1944, Amelia was one of the 13 artists included in the ground breaking exhibition, Modern Cuban Painters at MoMA (the Museum of Modern Art in New York), curated by Alfred Barr. The exhibition, which showcased Cuban art as a highlight of the contemporary art world for the first time, presented 11 works of the artist. The show then traveled to twelve museums across the United States including, the National Gallery in Washington D.C. and the San Francisco Museum of Modern Art. The depiction of the artist’s heritage - in a resolutely modern style - is most important in her body of work. Thus the viewer can appreciate in her compositions how she synthesized avant-garde aesthetics with the Cuban motifs of her intimate surroundings: gardens, tropical fruits, flowers, birds, ceramic vases, bowls, dishes, lace tablecloths, hand-crafted furnishing and colonial architecture subjects, including, ironwork, stained glass windows, wicker chairs, ornate columns and balconies. Her free-flowing bold black lines, which outline areas of intense color, evoke Cuba’s baroque architecture of that era.

Amelia Pelaez’s legacy asserts the significant role she played at the genesis of modern art in the Americas and how she, together with other artists of the epoque, helped shape the global trajectory of modernism.

Nercys Cernuda

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Amelia Peláez, The Tree and the Cross (El Árbol y la Cruz), ca. 1925 oil on canvas board, 12 1/2 x 8 1/2 inches This artwork is accompanied by a certificate of authenticity issued by Ramón Vázquez Díaz, dated November 20, 2006.

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Illustrated in Important Cuban Artworks Volume Six, Cernuda Arte, Coral Gables, Florida, page 20.

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Amelia Pelรกez, Puentes Grandes (Puentes Grandes), ca. 1926 oil on canvas, 25 1/2 x 21 1/2 inches The Cernuda Family Collection Not for sale.

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Amelia Pelรกez, Landscape (Paisaje), 1928 wax crayon on paper, 11 x 17 inches The Cernuda Family Collection Not for sale.

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Amelia Pelรกez, Profiles (Perfiles), 1928, ink and crayon on paper, 17 x 11 inches The Cernuda Family Collection Not for sale.

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Amelia Pelรกez, The Twins (Los Gemelos), 1929, wax crayon on paper, 17 x 11 inches

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The Cernuda Family Collection Not for sale.

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Amelia Peláez, Profile, (Perfil), 1930, crayon on paper laid down on board, 15 3/4 x 9 3/4 inches, signed and dated “Paris 1930” Provenance: Guido Addriansens Collection.

We are grateful to Carmen Peláez, sister of the artist, for having confirmed the authenticity of this artwork.

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This painting is accompanied by a photo-certificate of authenticity, signed by Ramón Vázquez Díaz, dated November 21, 2001.

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Amelia Peláez, Table Cloth (Mantel), 1930 mixed media on heavy paper laid down on board, 17 ¼ x 10 7/8 inches Provenance: Collection of Guido Adriaenssens, Commercial Attaché to the Belgian Embassy in Havana in the early 1980s. He acquired the work from Carmen Peláez, sister of the artist. We are grateful to Carmen Peláez for having confirmed the provenance and authenticity of this work.

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Amelia Pelรกez, The Fountain (La Fuente), 1930, oil on canvas, 24 1/2 x 31 1/2 inches The Cernuda Family Collection Not for sale.

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Amelia Pelรกez, Profile of a Woman (Perfil de Mujer ), 1930, ink and wax crayon on paper, 17 x 11 inches The Cernuda Family Collection Not for sale.

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Amelia Peláez, Grey Fish (Pescados Grises), 1931, oil on canvas, 38 x 51 inches Mounted in original frame, designed and painted by Amelia Peláez.

Provenance: Luis Amado Blanco Collection, Havana, Cuba; Private Collection, Los Angeles, California.

Exhibited in Amelia Peláez del Casal, January-February 1935, Lyceum, Vedado, Havana, Cuba, and listed no. 19 (Pescado Gris) in the exhibition brochure.

Exhibited in Exposición de Pintura, Víctor M. García, Amelia Peláez, Domingo Ravenet and Carlos Enríquez, August 8, 1936, Lyceum, Vedado, Havana, Cuba, and listed no. XII (Pescados Grises) in the exhibition brochure.

Exhibited in Amelia Peláez, Exposición Retrospectiva, November 14, 1968, Museo Nacional de Bellas Artes, Havana, Cuba, and listed in the corresponding exhibition catalog, no. 58.

Illustrated in Diálogos Constructivistas en la Vanguardia Cubana: Amelia Peláez, Loló Soldevilla and Zilia Sánchez, Galerie Lelong, New York, April-June 2016, page 6.

Illustrated in Important Cuban Artworks Volume Fourteen, Cernuda Arte, Coral Gables, Florida, 2016, page 22.

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[Amelia] “Peláez studied with [Alexandra] Exter in Paris from May 1931 to January 1934, shortly before her return to Havana. During this time they worked in collage, studied book illustration, created set designs, and explored still life.

Peláez reported that she owed Exter ‘her greatest advancement and technical understanding.’ Indeed Exter’s experimental interpretation of Cubism and Futurism, animated by the dynamic potential of color, appears to have inspired Peláez’s approach to a lifetime of painting, even after her return to Cuba [1934]… Exter’s strategy of centering the composition on a weighty object around which swirled ‘whirlwinds of geometric forms,’ often spinning off planes, influenced Tatlin’s Monument to the Third International (1919-1920), a work foundational to Russian Constructivism.

Peláez also adopts Exter’s interest in movement around a central pivot point in her circa 1931-35 Pescados Grises (Grey Fish). In their case a stylized, flattened fish and still life object become the focal point for the curved body of another, nearly-living black fish that wraps around them. This subtle movement may be the beginning of the black arabesque that would become the hallmark of Peláez’s mature style…”

Ingrid W. Elliot, Ph.D., excerpt from the catalog essay Between the Real and the Invisible, Diálogos Constructivistas en la Vanguardia Cubana: Amelia Peláez, Loló Soldevilla and Zilia Sánchez, Galerie Lelong, New York, April-June 2016, pages 5 and 6.

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Amelia Pelรกez, Still Life with Mamey (Naturaleza Muerta con Mameyes), 1934, gouache on paper, 11 3/16 x 9 1/4 inches The Cernuda Family Collection Not for sale.

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Amelia Peláez, Ferns (Helechos), ca. 1935, oil on canvas, 40 1/2 x 29 5/8 inches Mounted in original frame, designed and painted by Amelia Peláez.

Provenance: Private Collection, Pembroke Pines, Florida.

This painting is also accompanied by a photo-certificate of authenticity signed by José Veigas Zamora and Ramón Vázquez Díaz, dated January 5, 2015.

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Illustrated in Important Cuban Artworks Volume Fourteen, Cernuda Arte, Coral Gables, Florida, 2016, page 23.

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Amelia Pelรกez, Still Life in Gray (Naturaleza Muerta en Gris ), 1936, oil on rice paper, 11 1/4 x 13 1/2 inches The Cernuda Family Collection Not for sale.

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“The paintings of Peláez not only revolved around still lifes of flowers, fruits, and fish but also the human figure and more specifically, women. The figurative gouaches and paintings of the 1940s and 1950s are about stately women in an architectural environment... In these paintings, Peláez uses a loose version of cubism, particularly indebted to Picasso in regard to the representation of the human figure, to explore her most immediate environment and way of life... The subject of two women appears often in Peláez’s paintings of this time and seems to refer to her sisters and possibly herself. In El Balcón the female figures, given their activities, may refer to her sister Carmen, who taught literature, and to Amelia herself, who raised birds.

The subject of placidly seated Cuban women in a domestic setting is one that can be traced back through Víctor Manuel’s Mujer sentada to Cuban colonial art, as seen in José Arburu Morell’s En el jardín (In the Garden, 1888) and Guillermo Collazo’s La siesta (The Siesta, 1886). They represent a passive view of women and an Arcadian vision of Cuban middle- and upper-class life as sedentary and serene.”

Juan A. Martínez, Cuban Art and National Identity, The Vanguardia Painters, University Press of Florida, 1994, pages 136 and 137.

Amelia Peláez, The Sisters (Las Hermanas), 1943, mixed media on heavy paper laid down on board, 37 x 29 1/2 inches The Cernuda Family Collection Not for sale.

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Amelia Pelรกez, The Fortune Teller (La Adivinadora), 1944, gouache and ink on paper, 14 1/2 x 19 3/4 inches The Cernuda Family Collection Not for sale.

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Amelia Peláez, Interior with Balcony, (Interior con Balcón), 1947 mixed media on heavy paper laid down on board, 22 x 30 inches Exhibited in Amelia Peláez: The Craft of Modernity, at the Pérez Art Museum, Miami, FL, Dec. 4, 2013 to Feb. 23, 2014, and illustrated in the corresponding catalog, page 91.

Exhibited in Cuban Art in the 20th Century: Cultural Identity and the International Avant Garde, at the Florida State University Museum of Fine Arts Tallahassee, FL, Feb. 12 – Mar. 27, 2016 and illustrated on the cover and on page 81 of the accompanying catalog.

An exhibition which traveled to the Coral Gables Museum, Coral Gables, Florida, January 23 to April 23, 2017.

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In the most insightful analysis of [Amelia] Peláez’s stylistic sources in Cuban architectural decoration, artist Robert Altmann introduced the issue: “The paintings of Amelia Peláez are a conscious vision of the dominant role of ornament in relation to the theme of still life and of the elements of Cuban ornamental art of the last century.”(1) “In her own studio,” he observed, “Amelia Peláez accumulates vestiges of the colonial past: corinthian columns, mamparas, sculpted chairs, and other objects that remind her at every glance of a precise stylistic language [that of Cuban nineteenth-century ornamental art].”(2) About the specific connections between her style and the precise visual language of colonial architectural decoration, Altmann was one of the first to point out that her use of color and chiaroscuro suggests the filtration of light created by the medio punto, and that her linear arabesques construct a limited, static space defined by perforated screens parallel to the picture plane, not unlike the space found in traditional Cuban ornamental iron and wood works. He concluded that Peláez’s paintings were a carryover and a rehabilitation of forgotten ornamental tradition found in Cuban nineteenth and early-twentieth-century architecture and crafts.

(1)(2)Robert Altmann, “Ornamento y Naturaleza Muerta en la Pintura de Amelia Peláez”, Orígenes, La Habana, No. 8, Invierno, 1945.

Juan A. Martínez, Cuban Art and National Identity, The Vanguardia Painters, University Press of Florida, 1994, page 133.

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Amelia Pelรกez, Fruit Bowl (Frutero), 1947, oil on canvas, 48 x 48 inches The Cernuda Family Collection Not for sale.

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Amelia Peláez, Sketch for a Mural (Boceto para Mural ), ca. 1950, tempera on paper, 13 1/2 x 17 1/2 inches This painting is accompanied by a certificate of authenticity signed by Ramón Vázquez Díaz.

The Cernuda Family Collection Not for sale.

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Amelia Pelรกez, Composition (Composiciรณn), 1955 mixed media on heavy paper laid down on board, 30 x 22 inches Provenance: Dr. Henrique da Silva Martins.

Dr. Henrique da Silva Martins was First Secretary at the Portuguese Embassy in Havana in 1958.

Illustrated in Important Cuban Artworks Volume Fourteen, Cernuda Arte, Coral Gables, Florida, 2016, page 25.

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Amelia Peláez, Composition with Fish, (Composición con Pez), 1955, mixed media on heavy paper laid down on board, 14 1/8 x 19 1/4 inches Provenance: Private Collection, Zaragoza, Spain.

This painting is also accompanied by a certificate of authenticity signed by Ramón Vázquez Díaz and José Veigas Zamora.

Illustrated in Important Cuban Artworks Volume Fourteen, Cernuda Arte, Coral Gables, Florida, 2016, page 26.

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“The viewer can appreciate in her compositions how she synthesized avant-garde aesthetics with the Cuban motifs of her intimate surroundings: gardens, tropical fruits, flowers, birds, ceramic vases, bowls, dishes, lace tablecloths, hand-crafted furnishing and colonial architecture subjects, including, ironwork, stained glass windows, wicker chairs, ornate columns and balconies. Her free-flowing bold black lines, which outline areas of intense color, evoke Cuba’s baroque architecture of that era.”

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Amelia PelĂĄez, Stained Glass with Hibiscus (Vitral con MarpacĂ­ficos), 1955 mixed media on heavy paper, 19 x 29 inches This painting has been part of the collection of Bernardo Viera Trejos, who acquired it directly from the artist.

Illustrated in Important Cuban Artworks Volume Seven, Cernuda Arte, Coral Gables, Florida, page 28.

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Amelia Peláez, Fish (Peces), 1955 mixed media on heavy paper laid down on board, 19 3/4 x 23 inches Provenance: Private Collection, Zaragoza, Spain.

This painting is also accompanied by a certificate of authenticity signed by Ramón Vázquez Díaz and José Veigas Zamora.

Illustrated in Important Cuban Artworks Volume Fourteen, Cernuda Arte, Coral Gables, Florida, 2016, page 26.

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Amelia Peláez Mug (Jarra), 1956 one-of-a-kind, hand painted ceramic 3 3/4 x 5 x 4 inches Signed ‘AP 56’ on the bottom This ceramic work by Amelia Peláez comes from the Dr. Adalberto Quintana Collection, Havana, Cuba and San José, Costa Rica.

Dr. Quintana was the personal physician of Carmen Peláez and received these ceramics directly from the sister of the artist.

Illustrated in Important Cuban Artworks Volume Twelve, Cernuda Arte, Coral Gables, Florida, 2014, page 19.

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Amelia PelĂĄez, Self Portrait in Ash Tray (Autorretrato en Cenicero), 1959 one-of-a-kind, painted ceramic plate, signed and dated on the back "AP 59 cc" 9 Âź inches diameter x 2 inches Illustrated in Important Cuban Artworks Volume Ten, Cernuda Arte, Coral Gables, Florida, page 83.

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Amelia Peláez, Botanical Forms (Formas Botánicas), 1956, mixed media on paper, 10 3/4 x 13 1/2 inches Provenance: Ramón Osuna Gallery, Washington, D.C.; Private Collection, Key Biscayne, Florida.

Illustrated in the book, Four Artists of the Americas: Roberto Burle-Marx, Alexander Calder, Amelia Peláez, Rufino Tamayo, José Gómez Sicre, Pan American Union, 1957, page 42.

Illustrated in Important Cuban Artworks Volume Thirteen, Cernuda Arte, Coral Gables, Florida, 2015, page 51.

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Amelia Pelรกez, Still Life with Fish (Naturaleza Muerta con Peces), 1958, oil on canvas, 34 1/4 x 44 1/4 inches The Cernuda Family Collection Not for sale.

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Amelia Pelรกez, Tableware (Vajilla), ca. 1960 one-of-a-kind signed, painted ceramic set, dimensions vary

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Amelia Peláez, Flower Vase on a Lace Tablecloth (Jarrón de Flores sobre Mantel de Encaje), 1960 mixed media on heavy paper laid down on board, 31 x 25 inches This painting is accompanied by a photo-certificate of authenticity signed by Ramón Vázquez Díaz.

Illustrated in Important Cuban Artworks Volume Fifteen, Cernuda Arte, Coral Gables, Florida, 2017, page 39.

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Amelia Pelรกez, Colonial Style Window and Furniture (Ventana y Muebles de Estilo Colonial), 1962, mixed media on heavy paper laid down on board, 11 1/2 x 17 3/8 inches Illustrated in Important Cuban Artworks Volume Thirteen, Cernuda Arte, Coral Gables, Florida, 2015, page 51.

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“Amelia’s paintings of the 1960’s are, in many ways, a return to the baroque style of the 1940’s. Although something of the symmetry and decorative flatness of the previous decade was retained, the artist’s twisting black line reappeared, turning from ironwork to embroidery to still-life motifs. The texture is rich and thick in places, like cake icing, and there is incising.

In such works, we have the artist’s tripartite division: an upper zone with medio punto [fanlight], a middle zone with tropical fruits and flowers, and a third zone of decorative patterns reminiscent of a crocheted doily or of wrought iron.”

Giulio V. Blanc, Amelia Peláez, 1896-1968, A Retrospective, Cuban Museum of Arts and Culture, 1988, page 61.

Amelia Peláez, Pineapple (Piña), 1964 mixed media on cardboard, 30 x 22 1/2 inches This painting is accompanied by a photo-certificate of authenticity signed by Ramón Vázquez Díaz, dated April 23, 2001.

Illustrated in Important Cuban Artworks Volume Nine, Cernuda Arte, Coral Gables, Florida, page 53.

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SELECTED SOLO EXHIBITIONS

SELECTED GROUP EXHIBITIONS

2013-14

1997

1996

1992

1988

1987 1986 1929 1967

1985

1981

1980

1979

1977

1971

1968

1967

1964

1960

1959

1957 1956 1956 1943

1941 1936

1935 1933 1924

2017 Cuban Art in the 20th Century: Cultural Identity and

the International Avant-Garde, Coral Gables

Museum, Coral Gables, Florida, U.S.A. 2016 Cuban Art in the 20th Century: Cultural Identity

and the International Avant-Garde, Florida State

University Museum of Fine Arts, Tallahassee,

Florida, U.S.A. 2013-14 Cuban Art and Identity, 1900-1950, Vero Beach

Museum of Art, Vero Beach, Florida, U.S.A. 2004 MoMA at El Museo: Latin American and Caribbean

Art from the Collection of The Museum of Modern

Art, El Museo del Barrio, New York, New York, U.S.A. 1996-5 Latin American Women Artists 1915-1995 ,

Milwaukee Art Museum, Milwaukee, Wisconsin;

Phoenix Art Museum, Phoenix, Arizona; The Denver

Art Museum and Museo de las Améri¬cas, Denver,

Colorado; The National Museum of Women in the

Arts, Washington, D.C., U.S.A. 1993 Cuban Artists of the Twentieth Century, Museum of

Art, Fort Lauderdale, Florida, U.S.A.

San Alejandro. 175 Aniversario, Museo Nacional de

Bellas Artes, Havana, CUBA. 1990 El espíritu latinoamericano: arte y artistas en los

Estados Unidos, 1920-1970, Center for the Arts,

Vero Beach, Florida, U.S.A.

Colección Latinoamericana. Museo de Bellas Artes de

Caracas, Biblioteca Luis Angel Arango,

Bogota, Colombia.

1989 Art in Latin America: The Modern Era, 1820-1980,

Hayward Gallery, London, U.K.;

National Museum of Modern Art, Stockholm,

Sweden; Palacio de Velázquez, Madrid, Spain.

El espíritu latinoamericano: arte y artistas

en los Estados Unidos, 1920-1970;

El Paso Museum of Art, California; San

Diego Museum of Art, San Diego,

California, U.S.A.; Centro de Cultura

Puertorriqueña, San Juan, Puerto Rico.

1988 El espíritu latinoamericano: arte y artistas en los

Estados Unidos, 1920-1970, The Bronx Museum of

Art, New York, U.S.A. 1984 Dibujos Cubanos, Museo Nacional de Bellas Artes,

Havana, Cuba.

1982 Cuban Art: A Retrospective, 1930-1980, The Signs

Gallery, New York, U.S.A.; Contemporary Art

Museum, Sala Artecon¬sult, Panama City, Panama.

Homage to Women Artist of the Americas, Museum

of Modern Art of Latin America, Washington, D.C., U.S.A. 1978 Pintura y Gráfica Cubanas, Museo Español de

Arte Contemporáneo, Madrid; Fundació Joan Miro.

Centre d’Estudis d’Art Contem¬porany, Parc de

Montjuic, Barcelona, Spain.

1974 Museum of Modern Art of Latin America. Selections

from the Permanent Collection. Museum of Modern

Art of Latin America, Washington, D.C., U.S.A.

Amelia Peláez: The Craft of Modernity, Pérez Art Museum Miami, Florida.

Tarsila do Amaral/Frida Kahlo/Amelia Peláez.

Fundación La Caixa, Madrid, Spain.

Amelia Peláez del Casal , Galería La Acacia, Havana, Cuba.

Amelia Peláez en el Centenario de su natalicio.

Oleos, temperas y dibujos 1924-1967, Centro Wifredo Lam, Havana, Cuba.

Amelia Peláez. Exposición retrospective, Biblioteca Luis Angel Arango, Bogota, Colombia.

Amelia Peláez: A Retrospective. Museo Cubano de Arte y Cultura, Miami, Florida, U.S.A. Amelia Peláez, Museum of Modern Art of Latin America (OAS), Washington, D.C., U.S.A. Amelia Peláez. Bienal de Sâo Paulo. Sao Paulo, Brazil.

Amelia Peláez. Exposición Antológica. Pinturas Segunda Bienal de La Habana, Museo Nacional de Bellas Artes, Havana, Cuba.

Amelia Peláez, Museo Municipal de 10 de Octubre, Havana, Cuba.

Cerámica de Amelia Peláez, Museo de Artes Decorati¬vas, Havana, Cuba.

Amelia Peláez. Oleos, tempera y tinta Museo de Arte Moderno, Bogota, Colombia.

Amelia Peláez. Mexico City, Mexico.

La gran pintora cubana Amelia Peláez, Museo de Arte Moderno, Mexico City, Mexico.

Amelia Peláez. Metropolitan Museum and Art Center, Miami, Florida, U.S.A. Amelia Peláez. Galería Amelia Peláez, Parque Lenin, Havana, Cuba.

Retrospectiva de Amelia Peláez (posthumous) Museo Nacional de Bellas Artes, Havana, Cuba.

Amelia Peláez. Gouaches, Cerámicas, Lyceum, Havana, Cuba.

Dibujos de Amelia Peláez. Museo de Arte Moderno, Bogota, Colombia.

Oleos y temperas de Amelia Peláez, Galería de La Habana, Havana, Cuba.

Amelia Peláez. Pintura y Cerámica. 1920 1960.

Lyceum, Havana, Cuba.

Pinturas de Amelia Peláez. Instituto Municipal de Cultura, Marianao, Havana, Cuba.

Amelia Peláez, Lyceum, Havana, Cuba.

Amelia Peláez. Nuestro Tiempo, Havana, Cuba.

Amelia Peláez. Nuestro Tiempo, Havana, Cuba.

Amelia Peláez. Retrospectiva. 1929 1943, Instituto Hispano Cubano de Cultura, Havana, Cuba, Amelia Peláez, Norte Gallery, New York, U.S.A. Exposición de pintura moderna. Amelia Peláez, Carlos Enríquez y Ravenet. Círculo de Amigos de la Cultura Francesa, Havana, Cuba.

Amelia Peláez del Casal. Lyceum, Havana, Cuba.

Amelia Peláez del Casal, Galerie Zak, Paris, France.

Amelia Peláez y María Pepa Lamarque, Asociación de Pintores y Escul¬tores, Havana, Cuba.

Continued on next page.

1972

1971 1968

1967

1966

1962

1960

1957

1956

Exposición de Maestros Cubanos de la Pintura. Sala Matta, Museo de Bellas Artes, Parque Forestal, Santiago de Chile, Chile.

Aspects de l’Art Cubain, Galerie de Seine, Paris, France.

Maestros cubanos, Instituto Nacional de Bellas Artes, Mexico City, Mexico.

Cuba! First London Exhibition of Contemporary Cuban Art, Ewan Phillis Gallery, London, U.K. Pittura Cubana Contemporanea, Due Mondi Galleria d’arte internazionale, Rome; Palazzo de Enzo, Sala del Trecento, Bologna, ITALY. Salón Nacional/1962. Homenaje a Carlos Enríquez, Museo Nacional de Bellas Artes, Havana, Cuba.

Cuban Painting Exhibition, Galería Manes, Prague, Czech Republic; Ernst Múzeum, Budapest, Hungary; Sala Dalles, Bucharest, Romania; Zaçheta Gallery, Warsaw, Poland; Galería Nacion¬al, Sofia, Bulgaria; Zhivopisi Kubi, Moscow, Russia.

Pintura contemporánea cubana, Instituto Nacional de Bellas Artes, Mexico City, Mexico; Museo de Arte Moderno, Caracas, Venezuela; Facultad de Arquitectura, Montevideo, Uruguay; Museo de Arte Moderno, Sâo Paulo, Brazil.

Guggenheim International Award 1957. The Solomon R. Guggenheim Museum, New York, U.S.A. Gulf Caribbean Art Exhibition, The Museum of Fine Arts of Houston, Texas; The Institute of Contemporary Art, Boston, Massachusetts; The Munson Williams- Proctor Institute, Utica, New York; The Carnegie Institute, Pittsburgh, Pennsylvania; The Colorado Spring Fine Art Center, Colorado, U.S.A.

1952-54 7 Cuban Painters, Pan American Union,

Washington, D.C.; Boston Contemporary

Art Institute, Boston, Massachusetts; J.B.

Speed Museum of Art, Louisville, Kentuck¬y;

White Gallery, Washington, D.C., U.S.A.; National

Gallery of Ottawa, CANADA. 1952 XXVI Venice Biennale, Venice, Italy.

1951 Art Cubain Contemporain, Musée National d’Art

Moderne, Paris, France.

Lateinamerikanische Kunst der Gegenwart, Stuttgart;

Munich; Nuremberg; Mannheim; Heidelberg;

Francfurt am Main; Kassel; ¬Essen, Germany

I Bienal do Museu de Arte Moderna, Trianon,

Avenida Paulista, Sao Paulo, Brazil.

1949 33 Artistas de las Américas [August 30 September

12]. Lyceum, Havana, CUBA.* 1944 Modern Cuban Painters, Museum of Modern

Art, New York, U.S.A.* 1943 The Latin American Collection of The Museum of

Modern Art. Museum of Modern Art, New York, U.S.A.

SELECTED AWARDS 1973 Third Prize in Sculpture. Salón de Profesores e Instruc-tores de Artes Plásticas,

Escuela San Alejandro, Havana, Cuba.

1968 National Order “30 Años Dedicados al Arte,” Havana, Cuba.

1964 Acquisition Award. Salón Nacional de Pintura y Escultura 1964.

Homenaje a Fidelio Ponce de León, Museo Nacional de Bellas Artes, Havana, Cuba.

1962 Acquisition Award. Salón Nacional, Homenaje a Carlos Enríquez,

Museo Nacional de Bellas Artes, Havana, Cuba.

1956 Merit Award. VIII Salón Nacional de Pintura y Escultura, Havana, Cuba.

1959 Acquisition Prize. Salón Anual 1959. Pintura, Escultura y Grabado, Museo Nacional de Bellas Artes, Havana, Cuba.

1938 Prize. II Exposición Nacional de Pintura y Escultura, Castillo de la Fuerza, Havana, Cuba.

1935 Prize. Exposición Nacional de Pintura y Escultura Havana, Cuba (Rejected by the artist for considering it unfair.)

Catalog Coordinators: Eric González & Nico Hough • Photography: Jorge Palomino & Eric Gonzalez Proofreading: Nercys Cernuda • Printing: Bellak Color

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