Evolution of a pictorial style in landscape representation

Havana, Monday, 14 November 2016 – The researcher in charge of the project Fidel Micó Catalogue Raisonné (FMCR) is pleased to announce relevant findings on the evolution of the artist’s pictorial style during a short period of time dated from January to December 2014. Recently, a group exhibition entitled “Cuba Presente” was shown at Art Studio by Design (722 N. Main St in McAllen, Texas, USA) from October 1rst to 29th. Several oils on canvases painted by Micó in 2014 were shown to the public and featured at the Exhibition Reception (October 21srt, 7:00 pm – 9:00 pm) along with artworks from other Cuban contemporary artists. One of the paintings in exhibition is a clear evidence of a progressive transformation in the creative process of Fidel Micó. A careful observation of previous paintings of the same year and the painting “Atalaya del Flamboyán” (85 x 170 cm, oil on canvas, 2014, Art Studio by Design, Texas, USA), erroneously entitled “SILENCIO”, suggests a rapid transition of the artist’s thought from a meticulous control of the amount of compositional elements to more expressive landscapes without avoiding solutions for complex pictorial problems in aesthetic terms. During this spontaneous process, Micó granted more significance to diversity of compositional elements, and visual impact than to accurate representation of individual elements. In addition, his intention of reinventing a landscape is taking more strength in every painting.

The visual impact of “Atalaya del Flamboyán” is just impressive. Every compositional element holds the viewer’s attention from a highly complex interaction between the golden mean, light, colour, and the amazing biodiversity represented by Fidel Micó in this artwork. Certainly, this painting deserves a deep study, since Micó has introduced a novel proposal to represent tropical landscapes. A multidimensional arrangement of light and shadow was carefully built in the middle ground from left to right to reinforce a message on biodiversity. The number of plant species included in this painting is a clear statement on the love of this artist to nature, and his intention to draw viewer’s attention to the most subtle details of natural scenarios.

Finding a relationship between focus and lines is difficult in this case, because the sight remains trapped on the left golden mean successfully inhabited by the beautiful foliage of a tree dressed in good taste with a climber surrounded by other interesting species. Although initially the sight is guided to the focus, the light run increases intensity of the subject suggesting other equally interesting visual pathways to the right compartment of the painting. Undoubtedly, the tonal scheme expresses happiness, life, and death, showing a world plenty of spirituality, and mystic energy. There is not an exact imitation of nature, but a persistent effort to create an immortal space.

Looking for separation between masses and forms, the viewer is surprised by a high density of vegetation in the middle ground successfully painted without confusion of identity. This challenge was faced by Micó in a few previous paintings, but from the foreground, and mostly using a different frame orientation. Notable examples of paintings with abundance of compositional elements are “Transpiración” (120 x 160 cm, oil on canvas, 2005, private collector, USA), “Donde crecen los curujeyes” (85 x 116 cm, oil on canvas, 2007, private collector, USA), and “Otoño tropical” (160 x 110 cm, oil on canvas, 2011, private collector, USA). Probably, the painting “Río el Cubano” (150 x 105 cm, oil on canvas, 2014, private collector, Mexico) is the starting point of a new age in the career of Fidel Micó, because vegetation, stones, and a river are included in a small space with vertical frame orientation. After that, the artist represented a similar scenario in the painting “Río Santa Cruz” (116 x 85 cm, oil on canvas, 2014, private collector, Mexico), but the new pictorial style is actually evident from “Niebla de la Sierra” (80 x 116 cm, oil on canvas, 2014, private collector, Switzerland) where Micó changed frame orientation, and increased three-dimensional development in depth.

In the following eight paintings, including “Madre tierra” (110 x 200 cm, oil on canvas, 2015, private collector, Mexico), Micó amplified horizontal vision in scenarios with extensive biodiversity, performed substantial explorations on light, color, and composition at every compartment, and opened a new pathway for future generations of landscape painters to a different perception of natural elements before planning a painting. Although Cuban ecosystems are sufficiently beautiful to be painted without introducing innovative pictorial solutions, Micó preferred inviting palms, hills, fogs, climbers, timber forests, and rivers to a Caribbean carnival of hopes for the future of earth.

The Fidel Micó Catalogue Raisonné (FMCR) should be understood as an applied research project intended to explore the work anf life of the painter Fidel Micó in the last 40 years. This project, submitted to Catalogue Raisonné Scholars Association and International Foundation for Art Research, may encourage current owners of Micó’s works (mostly from USA, Mexico, Italy, and Spain) to supply information and images for provenance research and authentication. We also hope that the FMCR shows a good sense of how Micó’s method and practice has been throughout his lifetime working in different formats, and genres.

Rodríguez Nº 14, entre Maboa y Rabí, apto 1, Rpto. Santos Suárez, Municipio 10 de Octubre, La Habana, Cuba.

This release was published on openPR.