Papers on "Deceptive Fruits of Nature in Cuba:The Works of Julio Larraz" and similar term paper topics
Paper #003321 ::
Deceptive Fruits of Nature in Cuba:The Works of Julio Larraz
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Analysis of the still-life paintings of contemporary Cuban artist Julio Larraz, which reflect the temperament and emotion of Cuban nationals under ruling dictatorships with vibrant color, profound symbolism and aesthetic grace and intensity.
Written in 2002; 1,625 words; 3 sources;
$ 52.95
Paper Summary:
The paper features an in-depth analysis of the still-life paintings of Cuban artist Julio Larraz, which combine deep symbolism and emotion in vibrantly colorful palettes and scenes infused with drama, humor and psychological references representing the perspective of Latin American life under oppressive dictatorship in the 20th century. Julio Larraz is a celebrated contemporary painter who began to exhibit his works in the U.S. after 1967: the paper closely examines a number of specific works produced during the 1980s. Julio Larraz is currently an active, prolific artist, exhibiting his works in the U.S. , Europe , and Latin America .
From the Paper:
?Within his still-life paintings, Larraz achieves visual transmission of his sentiments through the handling and selective placement of the natural forms of everyday objects. The still-lifes feature objects derived primarily from nature such as vibrant fruits, flowers, and shells, usually placed within or upon a man-made vessel, pedestal, or table. Repetitive use of the containment of organic objects within such vessels in works such as Four Lobsters in a Tub (1984) and All Hands Aboard (1983) is reflective of Cuba?s position in regard to U.S. ?containment? policies of the Cold War era, isolation of Cuba as a Communist regime within a Latin American sphere striving to embrace democracy and develop free-market economies, the economic isolation imposed by the U.S. trade embargo of the 1960s, and the futile attempts to halt the continuous outflow of millions of Cubans to U.S. borders. Larraz also made reference to disguised elements within society in portrayals of baskets filled with a variety of colorful fruits, among which the viewer may glimpse such espionage hardware as a camera, his chosen instrument of exposure (The Spy Ship (1980) and Mango Boat (1986)).?
Tags:
artist castro color eclipse fruit kalishnikof latin life miami ocean painting sea still symbolism
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