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.
| Catalogue Raisonné: a research project for understanding artFidel 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 smellVisual 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 silenceVisits 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 housesA 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 genreAn 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
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".
Fidel Micó. The canon’s cracks. Philpapers 2014, http://philpapers.org/rec/MICTCC-2.
Sori J. M. Fidel Mico and Ivan Loboguerrero. Recent Works. Art Circuits Newsletters. Vol. 5, Nº 29, May 2010, p. 10.
Galería La Acacia. What’s on? Cuban Absolutely, July 2008, p. 7.
James Echols. Coral Gables Gallery Night Friday. Renowned Latin American Artists. Examiner, December 31, 2008.
Sori J. M. Renowned Latin American Artists. Art Circuits Newsletters. Vol. 2, Nº 13, Nov. 2008, p. 3.
Sori J. M. El salto. Art Nexus. Vol. 5, Nº 63, 2007, reproduced in page 43.
Sori J. M. Transpiración. Art Nexus. Vol. 5, Nº 61, 2006, reproduced in page 99.
Villoldo, entre Kessell y María Auxiliadora, edificio 10, apartamento 5, Vibora Park, Municipio Arroyo Naranjo, Havana, Cuba.
53-7-647-7429 and 53-7-05284-5675.
- 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...
- 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...
- 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...|