{"id":105848,"date":"2016-12-14T18:34:07","date_gmt":"2016-12-14T23:34:07","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=105848"},"modified":"2016-12-15T13:05:14","modified_gmt":"2016-12-15T18:05:14","slug":"105848","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/12\/14\/105848\/","title":{"rendered":"Mario Carre\u00f1o and Concrete Cuba"},"content":{"rendered":"<p><em>The story behind our Winter cover.<\/em><\/p>\n<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/12\/issue219_3d_rev-copy.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-105514\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/12\/issue219_3d_rev-copy.jpg\" alt=\"issue219_3d_rev-copy\" width=\"700\" height=\"909\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/12\/issue219_3d_rev-copy.jpg 700w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/12\/issue219_3d_rev-copy-231x300.jpg 231w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>The cover of our Winter 2016 issue features <em>Sin t\u00edtulo, composici<\/em>\u00f3<em>n (Untitled, composition)<\/em>, a muted, geometric painting from 1956 by the Cuban artist Mario Carre\u00f1o. Its quiet oranges, somber reds, and deep-sea blues are held within measured rectangles, triangles, and squares. In the top right, a red curve rests on an ocher block like an accent. <em>Sin t\u00edtulo<\/em> hearkens back to the abstract covers the <i>Review<\/i> favored through the sixties and into the seventies, featuring the work of artists such as\u00a0<a href=\"https:\/\/www.theparisreview.org\/back-issues\/47\" target=\"_blank\">G\u00fcnter Fruhtrunk<\/a> and <a href=\"https:\/\/www.theparisreview.org\/back-issues\/44\" target=\"_blank\">Genevi\u00e8ve Claisse<\/a>.<\/p>\n<p><em>Sin t\u00edtulo<\/em> was on display\u00a0last February in David Zwirner\u2019s exhibition \u201cConcrete Cuba,\u201d which showcased eleven artists from\u00a01950s Havana. The artists, formally known as Los Diez Pintores Concretos, converged to articulate historical \u201cconcrete art within a Cuban context,\u201d as Abigail McEwan writes in the show\u2019s catalogue. The form favored \u201ca mathematical, mechanical construction.\u201d Some paintings, like Lol\u00f3 Soldevilla\u2019s, look like planetary studies, with globular shapes snaking after one another.<\/p>\n<p>Mario Carre\u00f1o held an outsize position in this community. He positioned himself as an early theorist of the movement by working on the magazine <em>Noticias de arte<\/em>, writing articles\u00a0such as \u201cMorality in Abstract Painting,\u201d in which he introduced Cuban Concretism as \u201can aesthetic corollary of the historical and spiritual needs of our time.\u201d\u00a0<!--more--><\/p>\n<p>Born in Havana in 1913, Carre\u00f1o won a drawing competition hosted by the paper <em>El mundo<\/em> when he was only nine (some commentators wrote that the young artist precociously evoked the French painter Henri de Toulouse-Lautrec). At twelve, he entered Cuba\u2019s prestigious San Alejandro Academy of Fine Arts, becoming something of a prodigy. Carre\u00f1o traveled all over the world in his early adulthood, presenting his first solo exhibition in New York when he was twenty-seven.<\/p>\n<p>Like many of his era, his various emigrations were stimulated by regime change or unrest. In 1932, Gerardo Machado\u2019s \u201csecret police\u201d raided Carre\u00f1o\u2019s childhood home, and he decamped to Spain until the Spanish Civil War broke out; at that point, he moved back to Cuba before leaving to spend a few months in Mexico. He sprung around like that, always bouncing back to Cuba, until 1944, when he moved to New York. He stayed there for nearly a decade. His work during these years flattened gradually from vibrant Expressionist pieces to the more abstract. The best example, I suppose, is the difference between two paintings titled <em>Sugar Cane Cutter<\/em>\u2014<a href=\"http:\/\/www.cubanartnews.org\/artwork\/Carreno_Sugar_Cane_Cutters.jpg\" target=\"_blank\">this one<\/a>, from 1943, and <a href=\"http:\/\/www.cernudaarte.com\/uploads\/paintings\/thumbnails\/5581_1.jpg\" target=\"_blank\">this one<\/a>, from 1948. Most of the human form has been wiped away, leaving\u2014literally\u2014just skin and bone. By the 1950s, he finally landed on the mathematical precision of pieces like <em>Sin t\u00edtulo<\/em>.<\/p>\n<p>McEwan notes that Carre\u00f1o\u2019s concrete paintings have a strong linear sensibility, meaning the line is dominant. <em>Sin t\u00edtulo<\/em>, one of Carre\u00f1o\u2019s early concrete works, \u201cconveys a new structural clarity, as seen in the muted palette and crisp delineations \u2026 in which a textured, rectilinear ground of ochres, oranges, and browns is overlaid with a pattern of syncopated shapes.\u201d Compare these to a couple dizzying works by Luis Mart\u00ednez Pedro\u2014<em>Territorial Waters<\/em>\u2014in which bold curves revolve a central point, looking rather like the ellipses, the invisible lines, on which planets move around the sun.<\/p>\n<p>The <em>concretos<\/em>, and this painting in particular, are the artifacts of a utopian ideal. One of Los Diez, Pedro de Ora\u00e1, once wrote in a history of the group that they felt an intense romanticism in the project: the spirit of the <em>concretos<\/em> simmered in hope and imagination. The Cuba of the 1950s was full of prerevolutionary tumult and vigor\u2014Batista was still in power and upheaval was a growing presence in the national conversation. Instead of merely decrying the regime, Carre\u00f1o and his contemporaries wanted to offer \u201ca new form of political and social engagement\u201d through their work; but rather than create visions for a new system, their paintings abstracted the very idea of utopia itself, through color and line. They framed their art more as a question\u2014a prompt\u2014for the Cuban people. What could our country be? What <em>should<\/em> it be? Their art urged for care and precision in answering those questions\u2014a potent idea for anyone living through a political sea change.<\/p>\n<p><em>Caitlin Love is an associate editor of<\/em> The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The story behind our Winter 2016 cover: Mario Carre\u00f1o painted \u2018Sin titulo\u2019 in 1950s Cuba, a time of prerevolutionary tumult and vigor.<\/p>\n","protected":false},"author":973,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[18642],"tags":[26243,35,1159,16698,26230,26247,26246,26231,2610,26229,566,26232,26233,7985,26240,3226,26244,17966,26234,26237,26245,4154,26236,26235,2426,26241,26238,26242,10106,16961,26239],"class_list":["post-105848","post","type-post","status-publish","format-standard","hentry","category-inside-the-issue","tag-abstract","tag-art","tag-art-history","tag-community","tag-concrete","tag-concrete-art","tag-concrete-painting","tag-concretism","tag-cover","tag-cover-story","tag-cuba","tag-cuban","tag-cubanos","tag-david-zwirner","tag-el-mundo","tag-gallery","tag-geometric","tag-geometry","tag-los-diez-pintores-concretos","tag-mario-carreno","tag-mathematical","tag-paintings","tag-pedro-de-oraa","tag-pintores","tag-politics","tag-san-alejandro-academy-of-fine-arts","tag-sin-titulo","tag-sugar-cane-cutter","tag-untitled","tag-utopia","tag-utopian-ideal"],"acf":[],"yoast_head":"<!-- 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