MEASUREMENTS:31"HX37"W FRAMED, MINT CONDITION/"in the style of" Amelia Peláez del Casal was an important Cuban painter of the Avant-garde generation.n 1935, Pelaez had a solo exhibition at a women’s club in Havana called the Lyceum, which helped gain exposure of her new modernist Cuban style.During this time, in the mid-thirties, Peláez was experimenting with "patterns, shapes and geometric relationships of tablecloths and fruit dishes, laying the groundwork for the geometric constructions and rhythmic patterns that have been associated with her architectural ornamentation in her work in the forties”, it also shows her awareness of Cubism. Her signature still life paintings were praised for the use of native fruits and flora referencing her Cuban roots.In 1935-1936, Pelaez focused much of her paintings and drawings to the use of ink and pencil. The treatment of these drawings differs than her previous oil works, by distorting and exaggerating the figure with "sinuous line and light shading" that reference Cubism and European Modernism.Peláez received a prize in the National Exposition of Painters and Sculptors in 1938, and collaborated on several art magazines in Cuba, such s Orígenes, Nadie Parecía, and Espuela de Plata. In 1950 she opened a workshop at San Antonio de los Baños, a small city near Havana, where she dedicated herself, until 1962, to her favourite pastime of pottery. She sent her paintings to the São Paulo Art Biennial in 1951 and 1957, and participated in 1952's Venice Biennale. In 1958 she was a guest of honour and jury member at the First Inter-American Biennial of Painting and Printmaking in Mexico City,although she pulled out of the raucous and controversial jury discussions based on what she reported to be “an openly Communist bias in the decisions.” Aside from painting and pottery, she dedicated time to murals, located mainly at different schools in Cuba. Her most important works of this type are a ceramic mural at the Tribunal de Cuentas in Havana (1953) and the facade of the Habana Hilton hotel (1957).She had a hard time selling her paintings as a living artists—she and her paintings, later named Amelias, achieved fame much later in life.Peláez died in Havana in 1968. Private collection, no documentation. We offer a 14day money back guarantee if you are not satisfied with your purchase send back for full refund within 14 days.