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"




Thousands of books dealing with art and market have been commercial failures due to a common error. Impatient readers have finished these books with more questions than answers, without solutions for practical problems of the art world, and feeling a progressive stagnation of their careers. The root cause has been an ocean of highly fragmented information on the interactions between art and market that has not been integrated to be published in a comprehensive book. The light came from conversations with artists and dealers, who generously opened the pathway for finding practical solutions to the lack of transparency in the art world.

 

Now you can make the right decision on a book written for artists, curators, historians, journalists, writers, librarians, and cultural agencies. Entitled The silence smell, this comprehensive book is an opportunity for publishers who usually offer blockbuster products (best-sellers). Starting from a daily story, narrated with a friendly spirit, the reader penetrates into little noted dimensions of the art world. Short, but highly informative, conversations get to the point on subjects that deserve closer attention, not only from artists, but also from those persons that can improve transparency in the art world.

 There already exists a demand for this book because of the traditional nature of the art world. Ultimate benefit of the book is not-so-obvious, because the real potential meaning for readers’ life is hidden in every page. However, the ultimate benefit often proves to reach deep into the reader’s feelings. But, what would be selling? What human values would be at stake?

 

  • Identity.
  • Freedom.
  • Curiosity.
  • Power.
  • Pride.
  • Self-confidence.
  • Fulfilment.

The Nazi-Era made plain and clear the importance of documenting art, but most of the art world seems not to be learned the lesson, because a silence machine is even governing it. You could face a challenge similar to that probably accepted by ancient philosophers when tried to explain, for the first time, the transcendence of the number cero. By that time, probably, the most recurrent question was: What is the relevance of something that means nothing? Surely, the initial rejection was unanimous. You could face a similar situation, if you publish this book, or maybe the contrary. The author’s hypothesis is that silence is the driving force of the current information asymmetry in the art world. According to him, this subtle and devastating force has been damaging social recognition and reputation of artists, and therefore, the critical function of art in every society.

 

This paradoxical reality is the pathway for invisibility of relevant artworks created by humankind, because they abandon the collective memory, being replaced by any other piece supported by theoretical developments or marketing campaigns. As a consequence, the previous aesthetic knowledge is also replaced in the collective memory, and no improvement or expansion of culture takes place at global scale. Silence seems to be the current philosophy and culture for artwork appraisal. In the most intelligible circumstances, a few words are written or the names of some artists are generously mentioned by an artistic or academic authority. This is actually beautiful and smart, but it is also toxic, because humankind needs communication between nations, religions, and cultures. In addition, notable absence of critical assessment of artworks in the media is retarding educational and civilizing processes at global scale.

 

Starting from conversations with artists and dealers, this book, written as a combination of testimonies, points of view, and informal recommendations, is aimed at drawing attention to the silence on art appraisal. Intriguing issues of this subject are opened for further discussion to a broad audience: media, culture and education, formal system of galleries and museums, and editorial institutions.

 

Certainly, rational thought needs silence, but the first one vanishes without literature while artists are eroded by imponderable human needs and uncertainties. Artists have nothing to hide, and nothing to loss, but too much to show, and even more to win. Changing the dominant matrix would get us into a new age of transparency, plenty of unexpected emotional and intellectual experiences. Therefore, writing on living artists will extend our scope far beyond our traditional pathway for teaching and learning art. Explaining, informing, and authenticating what is acknowledged as art by most viewers without saying “…this is art! Do you see it?..” will be a sincere cultural contribution to world peace, justice, environment preservation, and every field of knowledge dependent on imagination, talent, taste, vision, willingness, and perseverance.

 

Simply, contact the author if you are interested to receive:

 

  • Exclusive rights (until February 20th, 2015).
  • Sample pages.
  • Images.
  • Collaboration.
  • Flexible negotiation.

 

Offer expires Appril 20th, 2015.

 

Contact information:

José A. Buxadó, MSc.

Researcher in charge of the project “The Fidel Micó Catalogue Raisonnée“.

e-mail: jose.acosta@cigb.edu.cu.


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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

 Now you can sell a successful book   Thousands of books dealing with art and market have been commercial failures due to a common error. Impatient readers have finished these books with more questions than answers, without solutions for practical problems of the art world, and feeling a progressive stagnation of their careers. The root cause has been an ocean of highly fragmented info

 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 - 8Ko - 2014]


 Now you can sell a successful book
Thousands of books dealing with art and market have been commercial failures due to a common error. Impatient readers have finished these books with more questions than answers, without solutions for practical problems of the art world, and feeling a progressive stagnation of their careers. The root cause has been an ocean of highly fragmented info
[Page - Fidel Micó - 10Ko - 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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