CUBA Mario Carreño Untitled (Three Figures) 1940 ink on paper 13 3/8 x 17 3/8 in. (34 x 44.1 cm.) Signed and dated "Carreño - 40" lower right.
Provenance Friederike Beer-Monti and Hans Böhler, New York Collection Aaron and Greta Shapiro, New York Estate of Greta Kolisch Shapiro, New York Acquired from the above by the present owner Artist Bio Mario Carreño Cuban • 1913 - 1999 Throughout his career, Mario Carreño produced a large body of diverse work ranging in style from Neo-Classical Figuration to Abstraction, and he is widely recognized as a key figure in Modern Cuban art. Carreño spent his formative years abroad, visiting Mexico in 1935 and later traveling throughout Europe in the 1940s. While in Europe, Carreño drew great inspiration from such contemporary avant-garde styles as Expressionism, Cubism and Abstraction. Like Amelia Peláez Carlos Enrique and other second-generation Vanguardia artists, Carreño aimed to incorporate European Modernist style into his oeuvre while developing a nationalist visual lexicon. His seminal works from the '40s, including Fuego en el Batey, Corte de Caña and Danza Afrocubana are brilliantly colored Duco works that each represent an essential element of Cuban identity. View More Works
CUBA Mario Carreño Untitled (Three Figures) 1940 ink on paper 13 3/8 x 17 3/8 in. (34 x 44.1 cm.) Signed and dated "Carreño - 40" lower right.
Provenance Friederike Beer-Monti and Hans Böhler, New York Collection Aaron and Greta Shapiro, New York Estate of Greta Kolisch Shapiro, New York Acquired from the above by the present owner Artist Bio Mario Carreño Cuban • 1913 - 1999 Throughout his career, Mario Carreño produced a large body of diverse work ranging in style from Neo-Classical Figuration to Abstraction, and he is widely recognized as a key figure in Modern Cuban art. Carreño spent his formative years abroad, visiting Mexico in 1935 and later traveling throughout Europe in the 1940s. While in Europe, Carreño drew great inspiration from such contemporary avant-garde styles as Expressionism, Cubism and Abstraction. Like Amelia Peláez Carlos Enrique and other second-generation Vanguardia artists, Carreño aimed to incorporate European Modernist style into his oeuvre while developing a nationalist visual lexicon. His seminal works from the '40s, including Fuego en el Batey, Corte de Caña and Danza Afrocubana are brilliantly colored Duco works that each represent an essential element of Cuban identity. View More Works
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