ARTISTS   
  Marcelo Pogolotti

   
 See works
 
 
 
   
 
Marcelo Pogolotti
His participation in the Exposición de Arte Nuevo (New Art Exposition) (Havana, 1927) places him among the members of the first generation of Cuba painters who ranked under Victor Manuel García´s inspiration and encouragement. In a different way he shares with Fidelio Ponce de León a separate place within Cuban painting; because we can not find in them passion for color, sensual spreading, effort to concrete an expression of national characteristics. Against emotion he opposes a rational process by which themes become intellectuals.
He studied engineering, painting and drawing in the United States of America and Philosophy and Letters in the Sorbonne, París, where he settled his residence from 1928 to 1940. In 1929, being invited, he took part in the Italian Futurist Movement, exhibited in several cities of the peninsula and in the Royale Gallery, Paris (1931). He was founder member of the first group of social painters of Europe and participated in the Exposition of Revolutionary Artists in Paris (1934 and 1935) with Leger, Lhote and Lipchitz among others. In 1938 the Carrefour Gallery organized him a personal exhibition, and in the same year he became, definitely, blind. Then he dedicated to literature and arts criticism, and lived almost all the time in Mexico, returning to Cuba shortly after his death. Barely 10 years dedicated to painting and drawing were enough to this artist for keeping an important place among his congeners; his expression deeply roots in social and politics affairs. He comes closer to aesthetical principles supported by Léger in his personal assimilation of cubism and to the fancy eschematism of Art Deco even in surrealism atmosphere, by simplifying figures, by architectonic elements and by the rest of the factors he made use of. His compact legacy constitutes, undoubtedly, the most radical testimony of social painting of his moment. A classical Cuban oil painting -Paisaje cubano, (Cuban Landscape) 1933- a kind of conceptual review depicting the situation of those years in Cuba: Cane cutters doing their hard work. The military armed power incarnated by soldiers; rebeliousness by the workers, financing speculation by Wall Street… So this work gets dimensions of a great critical fresco against injustice and social inequalities.