Forgot your password?

We just sent you an email, containing instructions for how to reset your password.

Sign in


    "It is one of the myths of the art market that when an artist dies the value of his work increases. The reality is quite different. If the artist is among the handful of superstars with very active markets, the market is usually flooded- and consequently depressed- as collectors offer their pieces for sale in the mistaken belief that they can now 'clean up'. If the artist was not one of the superstars, then the sad truth is that he will soon be forgotten as he is no longer available to appear at exhibition openings and meet his public." - Bernard Ewell - The Dean of Fine Art Appraisers & World Renowned Expert on the works of Salvador Dali - from the preface of GATTORNO: A Cuban Painter For The World by Sean M. Poole - Purchase your signed copy today at

    I've long been fascinated by the work of Cuban Vanguardia painter Amelia Pelaez, (1897- 1968). Pelaez remains one of the most significant yet widely obscure, artists of the 20th Century. Like Mexico's Frieda Kahlo, she is usually called by her first name and her paintings are known as 'Ameilas'. A pioneer among Latin American modernists, Amelia was highly influential in effecting the break from the traditional styles of painting dictated by the conservative academicians of Havana's San Alejandro Academy.

    Amelia began exhibiting regularly in Havana in 1918. After her solo exhibit at the Lyceum in 1935 she became one of the leading representatives of the Cuban Vanguardia. She held numerous one-person shows during her lifetime and has been the subject of major retrospective exhibitions at the Museo Nacional in Havana 1968, the Cuban Museum of Art and Culture in Miami 1988, and the Fundacion Museo de Bellas Artes in Caracas 1991.

    Amelia's uniquely individual interpretation of architectural and decorative elements associated with Cuba's colonial period imbues her images with a strong Cuban cultural context. Thick black lines outline areas of intense color producing an effect reminiscent of stained glass or the baroque design of decorative ironwork in a colonial home. Her free flowing arabesque lines evoke the intricate weave of wicker furniture. Her use of a heavy black line also serves to give the tones of her compositions a distinctive brilliance. Amelia acknowledged her debt to the art of Matisse, Braque, and Picasso in developing her personal version of synthetic cubism.

    And now, with Blue Sphere, I acknowledge my debt to them all. Gracias, compadres!

    Image - Blue Sphere - Acrylic & ink on 65# 9" x 12" wove paper. Titled on the back, Signed & dated lower left corner - Poole 2015. This is a study prior to working up the image on a large canvas. I'm out of canvas at the moment so sales are essential to the process. Make an offer. Buy it today. Hang it on your wall next week!
    • Share

    Connected stories:


Collections let you gather your favorite stories into shareable groups.

To collect stories, please become a Citizen.

    Copy and paste this embed code into your web page:

    px wide
    px tall
    Send this story to a friend:
    Would you like to send another?

      To retell stories, please .

        Sprouting stories lets you respond with a story of your own — like telling stories ’round a campfire.

        To sprout stories, please .

            Better browser, please.

            To view Cowbird, please use the latest version of Chrome, Safari, Firefox, Opera, or Internet Explorer.