Fidel Micó Art Gallery - Fidel Micó Artworks

Fidel Micó Art Gallery - Fidel Micó Artworks


"Fidel Micó is a Cuban painter born in Havana, Cuba in 1962. He received formal training at the prestigious Academy of Art "San Alejandro". This artist has created more than 2000 landscape paintings between 1980 and 2013, but none of them has been submitted for auction, because collectors and galleries from Cuba, USA, Qatar, Spain, Germany, Italy, C"




 London landscape painting

The great Italian painter GiovanniAntonioCanal(1697-1768), best known as Canaletto, took advantage of an opportunity that a few artists have discovered as a pictorial challenge. Paying attention to Westminsteras a subject of a landscape painting may give raise to interesting associations of ideas between humans and nature. The painting “London Westminster Abbey With A Procession Of Knights Of The Bath” (1749) is a special view of the painted place developed by Canaletto by adding clear and accurate details to luminous light and glowing colour. He not only captured the solemnity of the procession, but also the notable significance of the religious event in the British society of the 18th century. Undoubtedly, this composition deserves careful attention to every detail. The visual impact of this painting is heart-rending. The invitation of the artist to find mistakes in this artwork is challenging, and suggests some level of admiration to the architectural prowess. The majesty of the buildings governs arrangements of line and form, but something isn’t right with light and shadow. First, there isn’t shadow over the Abbey’s door, and second, the sunlight comes from a sky plenty of grey clouds, on the right. The visual pathway is drawn by the procession which attracts the viewer’s attention to a well-defined background on the left side of the painting. The enchanting building prevents loosing the viewer’s attention through the left frame of the painting. Definitively, the painted place governs most of the composition, but also spectators and protagonists of the event play an important role.

The painting “London Ranelagh interior of the Rotunda” (1754, National Gallery,London,England) confirms that more scenarios can be found inLondon to create outstanding contributions to the pictorial art. In this very special piece, Canaletto didn’t only worked developing the third dimension, but also suggested circular movement, leaving the viewer’s attention trapped between the centre and the left middle ground completely free to explore around it. Although the light source seems not to be clear in this painting, the Canaletto’s statement on the feasibility of giving more spatial freedom to the viewer is very valuable, and maybe hasn’t lost timeliness. John Constable (1776-1837) made also a notable contribution to the vision of Londonas an interesting place for painting cityscapes. Although he received little attention in London, his work “Whitehall stairs, the opening of Waterloo” (1817, Tate Gallery,London,UK) is evidence that Constable loved the city where he was born. A colourful scenario with abundant light, coming from everywhere, and the environment of growing happiness are the key components that confirm his desire of representing a living community that is usually misunderstood as a cold and misty place.

 

Claude Monet (1840-1926) was much more persistent performing the exercise of finding and representing notable places of this special and enigmatic city. The paintings “The London Harbour” (1871, Private collection, USA), “The Thames below Westminster” (1871, National Gallery, London, UK), “House of Parliament” (1903, Metropolitan Museum of Art, NY, USA), the series “House of Parliament” (1901, Art Institute of Chicago, 1902, private collection, 1903, Museum of Fine-Arts, St. Petersburg, Florida, National Gallery of Art Washington, DC, and Brooklyn Museum, 1903-1904, Metropolitan Museum of Art, 1904, Musée d'Orsay, Paris, Palais des Beaux-Arts de Lille, Lille, France, and Kunsthaus Zürich, 1905, Musée Marmottan Monet) and “The Waterloo Bridge” (1900, Dublin City Gallery, the Hugh Lane, Irland), points to the particular perception on the painted place represented by artists who were named “Impressionists” by the Paris’ press in 1874. The beauty of these places could be the starting point of more inspirational projects that explore interesting aesthetic interactions between human oeuvres and natural elements. Camille Jacob Pissarro (1830-1903), marked by the influence of Jean-Baptiste-Camille Corot (1796-1875), the Barbizon School, Joseph Mallord William Turner, and the impressionist movement, represented in “Hyde Park” (1890, Tokyo Fuji Art Museum, Tokyo, Japan) and “Charring Cross Bridge” (1890, National Gallery of Art, Washington, D.C) scenarios where the London’s society interacted with nature, maybe looking for visual pleasure. These could be some of the impressionist paintings that deserve to be reproduced, without experimental intentions, because they suggest the presence of characters showing emotions that would be relevant for learning more on the British society of the second half of 19th century. At the beginning of the 20th century, a fauvist painter, representative of the avant-garde movement, decided to show a more complex scenario of the city. Using the savage nature of bold and unrealistic colours, André Derain (1880-1954) painted “London Bridge” (1906, Museum of Modern Art), from an innovative view point, but keeping loyalty to a personal style that included raw colours, choppy brushstrokes, and frenzied composition. His apparent lack of concern for perspective or the realities of a scene may suggest multiple interpretations on the governing dynamics of this side of London, and the artist’s concerns on its f


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Fidel Micó Fidel Micó Fidel Micó Fidel Micó Fidel Micó Fidel Micó Fidel Micó Fidel Micó Fidel Micó Fidel Micó Fidel Micó Fidel Micó Fidel Micó Fidel Micó Fidel Micó

 London landscape painting   The great Italian painter GiovanniAntonioCanal(1697-1768), best known as Canaletto, took advantage of an opportunity that a few artists have discovered as a pictorial challenge. Paying attention to Westminsteras a subject of a landscape painting may give raise to interesting associations of ideas between humans and nature. The painting “London West

 Catalogue Raisonné: a research project for understanding art   Fidel Micó’s style has been always evolving. If several paintings from the same year are compared, we can find a continue experimentation on composition issues. The apparently simple landscapes Al cantío de un gallo, Amanecer en la sierra, and Camino a la laguna, painted in 2000, show his ability to change the position of a single tree and a few pa

 Writing for enlightening the silence smell   Visual arts are privileged sources of monumental altars devoted to mysterious rituals for adoration to silence. Oceans of peace dominate environments of museums, galleries, studios, libraries, and academies opening potential spaces to different mediums chosen for representing feelings born in artistic sensibility and transmitted to art lovers attra

 Crossing the old paradox   This real story crosses the interface between parallel universes of the human creation. Havana’s Sunday use to be a quiet day when people visit friends, family, and spiritual leaders of our more than 400 religions. Last Sunday was different for me, because a scientist had told me, a day before, that I had lost my time reading critical assessments o

 Art, beauty, and silence   Visits to the church “Santa Maria del Rosario” and the Central Chapel of the Necropolis “Cristobal Colón”, in Havana, were great opportunities to feel the impact of the disturbing interconnection between three contradictory categories: art, beauty, and silence. Let’s start in reverse. The major altar of the church, created by Cuban artists in the 1

 Warning to collectors, galleries, and auction houses   A few months ago, I started to receive a significant amount of phone calls asking me for authenticity of my artworks. In most cases, the pieces were never painted by me, but all they had been sold as mine. I mean, approximate imitations of my signature were included in an undetermined amount of paintings, and were sold to private collectors. The fo

 Keeping alive a forgotten genre   An enthusiastic journalist and art critic told me, many years ago: “It does not disappear (landscape genre), despite the dominance of other latest trends, the interest of the Figuration, whether realistic, hyper or simply follower of schools, based on classical painting, adapt to other media and other environments. In it, everyone seeks its landsca

Artworks Styles : Baroque - Realism
Artworks Topics : Erotic Nude - Furniture - Nature
Artworks Media : Oil On Canvas - Wood





Catalogue Raisonné: a research project for understanding art

 

Written by the researcher in charge of the project “The Fidel Micó Catalogue Raisonné” (FMCR) as member of the Catalogue Raisonné Scholars Association.

 

Fidel Micó’s style has been always evolving. If several paintings from the same year are compared, we can find a continue experimentation on composition issues. The apparently simple landscapes Al cantío de un gallo, Amanecer en la sierra, and Camino a la laguna, painted in 2000, show his ability to change the position of a single tree and a few palms with different intentions. However, at present, he is more interested on using his pictorial mastery for representing universal, civilizing, and educative messages as his contribution for humankind improvement. He has been collecting opinions on his paintings El poder de la naturaleza, and Otra oportunidad before starting his next conceptual paintings.

 

The paintings La Maja del Río, La roca del diablo, and Festín de gaviotas demonstrate that a human, a rock, and a few birds can be principal elements of landscapes under different chromatic schemes, at least, in middle ground and foreground. Concerning to techniques, we must confess that nothing compares with a day observing him at the studio. Certainly, Micó was born for painting, and we have not been able to decode his method, maybe because he never makes sketches, calculations or action plans. He just starts working “a la prima”, like an impressionist, but painting with realism and authenticity. He painted an undetermined amount of murals when he was serving in the army (1980 – 1983), and during the 90s, that could deserve further study.

 

This project has been opened to explore the artist’s work in the last 40 years. The project began 3 years ago from interviews at the artist studio. Although best known (but, little noted) as a landscape painter, Micó has also worked on genres combinations, and figurative. The FMCR will comprise his entire body of works created from 1972 to 2014, including an undetermined amount of oil on canvases that could be higher than 2000. New information will be added every year until research is complete (expected 2020). The first edition has been published available for free download at the website The Art Room Telford (http://www.theartroomtelford.co.uk/downloads/part1fidelmico.pdf) including results from 2000 to 2014, leaving three decades uncatalogued. This preliminary publication may encourage owners of Micó’s artworks to supply information and images to the project for further research that could be mostly focused on collectors and galleries from Cuba, USA, Mexico, and Spain. We are lucky to have the artist’s record and his better memory to add depth and context to our daily research. Our current tangible assets are a few printed publications in Art Nexus, and Art Circuit Newsletters, more than 7 600 web pages, advertising of exhibitions, and the Micó’s family involvement, but the project has not even received support from dealers, collectors and galleries.

 

This project has been intended to improve the public understanding of the Micó’s work. We start to understand the importance of a permanent and comfortable studio when we know on his frequent changes of address, and dimensions of his current painting room (2.0 x 2.0 x 2.4 m). His spontaneous development from 10 years old, without any advice and formal training and his devotion for teaching many young artists without asking anything in exchange afford relevant insights into how Micó’s living and work continue to resonate within the contemporary art. We 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 genre’s combinations, ranging from landscape to figurative. The FMCR has been written in a way that shows what he was working on each year alongside what he was showing in exhibitions. The book has been divided in five simple chapters (Project profile, biography, chronology, Catalogue Raisonné, and Annex) to facilitate a comprehensive approach to the artist’s career.

[Announcement - Fidel Micó - 6Ko - 2014]


 London landscape painting
The great Italian painter GiovanniAntonioCanal(1697-1768), best known as Canaletto, took advantage of an opportunity that a few artists have discovered as a pictorial challenge. Paying attention to Westminsteras a subject of a landscape painting may give raise to interesting associations of ideas between humans and nature. The painting “London West
[Page - Fidel Micó - 7Ko - 2014]


 Catalogue Raisonné: a research project for understanding art
Fidel Micó’s style has been always evolving. If several paintings from the same year are compared, we can find a continue experimentation on composition issues. The apparently simple landscapes Al cantío de un gallo, Amanecer en la sierra, and Camino a la laguna, painted in 2000, show his ability to change the position of a single tree and a few pa
[Page - Fidel Micó - 6Ko - 2014]


 Writing for enlightening the silence smell
Visual arts are privileged sources of monumental altars devoted to mysterious rituals for adoration to silence. Oceans of peace dominate environments of museums, galleries, studios, libraries, and academies opening potential spaces to different mediums chosen for representing feelings born in artistic sensibility and transmitted to art lovers attra
[Page - Fidel Micó - 6Ko - 2014]


 Crossing the old paradox
This real story crosses the interface between parallel universes of the human creation. Havana’s Sunday use to be a quiet day when people visit friends, family, and spiritual leaders of our more than 400 religions. Last Sunday was different for me, because a scientist had told me, a day before, that I had lost my time reading critical assessments o
[Page - Fidel Micó - 6Ko - 2014]


 Art, beauty, and silence
Visits to the church “Santa Maria del Rosario” and the Central Chapel of the Necropolis “Cristobal Colón”, in Havana, were great opportunities to feel the impact of the disturbing interconnection between three contradictory categories: art, beauty, and silence. Let’s start in reverse. The major altar of the church, created by Cuban artists in the 1
[Page - Fidel Micó - 8Ko - 2014]


 Warning to collectors, galleries, and auction houses
A few months ago, I started to receive a significant amount of phone calls asking me for authenticity of my artworks. In most cases, the pieces were never painted by me, but all they had been sold as mine. I mean, approximate imitations of my signature were included in an undetermined amount of paintings, and were sold to private collectors. The fo
[Page - Fidel Micó - 3Ko - 2013]


 Keeping alive a forgotten genre
An enthusiastic journalist and art critic told me, many years ago: “It does not disappear (landscape genre), despite the dominance of other latest trends, the interest of the Figuration, whether realistic, hyper or simply follower of schools, based on classical painting, adapt to other media and other environments. In it, everyone seeks its landsca
[Page - Fidel Micó - 3Ko - 2013]


Fidel Micó is a Cuban painter born in Havana, Cuba in 1962. He received formal training at the prestigious Academy of Art "San Alejandro". This artist has created more than 2000 landscape paintings between 1980 and 2013, but none of them has been submitted for auction, because collectors and galleries from Cuba, USA, Qatar, Spain, Germany, Italy, Canada, China, Mexico and El Salvador have preferred keeping Micó’s artworks as highly profitable investments. His life and working style is much more spiritual, intuitive and sensorial than analytic. Summarizing the central idea of Micó’s artwork in a single statement is challenging even for those who know him, but a systematic analysis of his life reveals critical insights. A solid description of his philosophical thinking, and an intuitive perception of the energy surrounding him may be drawn. Micó’s isolation from a slavery imposed by a low capacity to interact with space and time does not come from altered state of mind, but from a real capacity to feel himself out of the known universe when he is painting. Immunity to environmental perturbations keeps him painting in his mind and oils while attending a phone call, loving his wife, walking, drinking “guarapo” (sugar cane juice) or thinking on his daughter’s projects. Cuban landscapists usually refer to his artwork as a distinguishable style by saying “…this is a Micó…”, whilst opening their eyes as if he were an actual milestone to reach in the future. Actually, Fidel’s contemporaries understand him very well although they have not found the source of much acknowledgement to his life, because he has not obtained the world recognition that deserves. The source is inside, and months of constant analysis are necessary to obtain an intuitive idea of his past evolution whilst he was developing a personal style. Images of his oil on canvas and additional information can be found the British website "The Art Room".

Collections

 

Duncan Forbes’s collection, The Netherlands, 2 work.

Armando Dayan’s collection, Canada, 1 work.

Galería Cubarte, Santiagode Chile, Chile, 6 works.

Jorge M Sorí Fine Art, Miami, FL, USA, 2 works.

Cuba! Gallery of Fine Cuban Art, Melbourne, FL, 1 work.

Tony Piñera’s collection, Havana, Cuba, 1 work.

The Collection of the Artist, Havana, Cuba, 2 works.

Evora’s collection, Mexico City, Mexico, 1 work.

Cuauhtémoc’s collection, Mexico City, Mexico, 1 work.

Private collectors from Cuba, USA, Qatar, Spain, Germany, Italy, Canada, China, Mexico, and El Salvador, unknown amount of works.

Publications

 1.   Octavio Borges Pérez. “Un estado permanente de agitación”. Granma (the most important Cuban newspaper), November 22nd, 1985.

2.   Entornos. La Habana: Hotel Parque Central, April 29th - June 29th, 2003. Exhibition catalogue. Preface by José A. González andCary Jiménez.

3.   Primer Salón de Paisajes Víctor Manuel.La Habana: Convento San Francisco de Asís, February 2003. Exhibition catalogue. Preface by Jorge R. Bermúdez.

4.   Segundo Salón de Paisajes Víctor Manuel.La Habana: Convento San Francisco de Asís, April 2005. Exhibition catalogue. Preface by Concepción Otero Naranjoez.

5.   Artbo 2005. Bogotá: Cámara de Comercio de Bogotá. Exhibition catalogue, p. 62.

6.   Sori J. M. Transpiración. Art Nexus. Vol. 5, Nº 61, 2006, reproduced in page 99.

7.   Sori J. M. El salto. Art Nexus. Vol. 5, Nº 63, 2007, reproduced in page 43.

8.   Angela Capote. Enfoques del Paisaje. Tribuna de la Habana, July 13th, 2008.

9.   Cada quien con su paisaje.La Habana: GaleríaLa Acacia, May-July 2008, Exhibition catalogue. Preface by Tony Piñera.

10. Galería La Acacia. What’s on? Cuban Absolutely, July 2008, page 7.

11. Sori J. M. Five Contemporary Latin American Artists. MiamiArt Guide, September 16th, 2008.

12. Sori J. M. Renowned Latin American Artists. Art Circuits Newsletters. Vol. 2, Nº 13, November 2008, p. 3.

13. James Echols. Coral Gables Gallery Night Friday. Renowned Latin American Artists. Examiner, December 31st, 2008.

14. Cuban Visions. Doha: Cuban Embasy in Qatar, 2009. Exhibition catalogue. Preface: Tony Piñera.

15. 170 Aniversario del Natalicio del Insigne Pintor Esteban Chartrand.La Habana: Convento San Francisco de Asís, November - December 2010. Exhibition catalogue. Curators: Dianeris Peña, Roberto Alfonso.

16. Sori J. M. Fidel Micó and Ivan Loboguerrero. Recent Works. Art Circuits Newsletters. Vol. 5, Nº 29, May 2010, p. 10.

17. Signed limited edition prints “El salto de la Yagruma”. Galería Génesis,La Habana, Cuba, 2010.

18. Sori J. M. Artists. Art Nexus. June 1st, 2011.

19. Sin irnos por las ramas.La Habana: GaleríaLa Acacia, 2011. Exhibition catalogue. Curator: Roberto Cobas.

 

Exhibitions

2000-VII Bienal dela Habana, Galería Victor Manuel, Havana, Cuba.

2001-Group Exhibition “Landscape Painting”, Casa de la cultura de Arroyo Naranjo, Havana, Cuba.

VI Competence on Painting and Drawing”, Casa Museo Hurón Azul,Havana,Cuba.

Group Exhibition “Homenaje al 40 aniversario de la UNEAC”, Casa Cultura Arroyo Naranjo, Havana, Cuba.

Group Exhibition “Primer Salón de Pintura”, Galería HER-CAR, Havana, Cuba.

Group Exhibition “Colectivo plástico Carlos Enríquez, Casa Museo Hurón Azul, Havana, Cuba.

2003-Group Exhibition Concurso de Pintura y Dibujo: Combate, Casa Museo Hurón Azul, Havana, Cuba.

Group Exhibition Entornos, Hotel Parque Central, Havana, Cuba.

Group Exhibition “Primer Salón de Paisajes Víctor Manuel, Convento San Francisco de Asís, Havana, Cuba.

2004-Group Exhibition Primavera en Arroyo, Galería HER-CAR, Havana, Cuba.

2005-Group Exhibition “Segundo Salón Nacional de Paisaje Víctor Manuel, Convento San Francisco de Asís, Havana, Cuba.

Group Exhibition “Paisajes Primavera”, GaleríaLa Acacia, Havana, Cuba.

Group Exhibition Efectos secundarios, Registro Nacional de Bienes Culturales, Havana, Cuba.

Group Exhibition, “Artbo 2005”, Feria Internacional de Arte de Bogotá, Bogotá, Colombia.

2006-Group Exhibition “Latin American Artists”,JorgeMSoriFineArtGallery,Miami,U.S.A.

2007-Group Exhibition “Latin American Artists”, Jorge M Sori Fine Arts Gallery,Miami,U.S.A.

2008-Group Exhibition “Cada quien con su paisaje”, GaleríaLa Acacia, Havana, Cuba.

September, “Five Contemporary Latin American Artists”, Jorge M. Sori Fine Arts Gallery,Miami,U.S.A. 

December 31st, Group Exhibition “Renowned Latin American Artists”, Jorge M. Sori Fine Arts Gallery,Miami,U.S.A.

2009-February - Auction of the “Humidor Montecristo” designed by the artist José Ernesto Aguilera Reina, and created by Fidel Micó. Sold for € 120 000 to a Canadian collector at the “XI Festival del Habano”,Havana,Cuba.

Group Exhibition “Cuban Visions”, Cuban Embassy,Doha,Qatar.

Group Exhibition “13th Moscow Fair of Art”, Central House of the Artist,Moscow,Russia.

2010-Group Exhibition Salón de Paisaje “170 Aniversario del Natalicio del Insigne Pintor Esteban Chartrand”, Salón Blanco del Convento de San Francisco de Asís, Havana, Cuba.

2011- Group Exhibition Salón de Paisaje “Sin irnos por las ramas”, GaleríaLa Acacia, Havana, Cuba.

Group Exhibition, Artists,JorgeM.SoriFineArtGallery (June – August, 2011).

2013-Group Exhibition “Life, Hotel Occidental Miramar, Havana, Cuba.

 

Studio address:

Villoldo, entre Kessell y María Auxiliadora, edificio 10, apartamento 5, Vibora Park, Municipio Arroyo Naranjo, Havana, Cuba.

Studio phones:

53-7-647-7429 and 53-7-05284-5675.

[Biography - Fidel Micó - 16Ko]


  - Cada quien con su paisaje Fidel Micó's Page
No desaparece, a pesar del predominio de otras tendencias más avanzadas, el interés de la Figuración, ya sea realista, hiperrealista o, simplemente, seguidora de escuelas que, partiendo de la pintura clásica, se adaptan a otros medios y otros ambientes. En ella cada quien busca su paisaje, externo o interno que fluye después, sobre las disímiles su...
[Page - Fidel Micó - 7Ko - 2013]


  - A la hora de los paisajes Fidel Micó's Page
"¿Paisaje?" es una gran tela de Jesús Lara exhibida dentro de la exposición personal In Vitro, que ahora pasa por la galería habanera La Acacia. La inflexión que coloca la nominación de esta pieza, bien podría servir como punto de partida para significar el trabajo de este artista y también ciertas estrategias que hoy circulan en la Isla como modos...
[Page - Fidel Micó - 9Ko - 2013]


  - Exposiciones Personales 2006 Jorge Sori, Fine Art Gallery, U.S.A 2007 Jorge Sori, Fine Art Gallery, U.S.A Exposiciones Colectivas 1999: La Cabaña, La Habana, Cuba 2001 Casa de la cultura de Arroyo Naranjo, La Habana 2001: Homenaje al 40 aniversario de la UNEAC, Casa Cultura Arroyo Naranjo, La Habana 2001 Primer Salón de Pintura, Galería HER-CAR, La...
[Biography - Fidel Micó - 4Ko - 2013]











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