Loló Soldevilla (Cuba 1901 - Cuba 1971)
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Loló Soldevilla (Dolores Soldevilla Grandson, 1901-1971). Painter, sculptor, draftster and Cuban recorder. One of the most important representatives of abstract geometric and kinetic power.
Loló Soldevilla began painting in 1948 and the following year settled in the French capital, where she studied sculpture at the Academy Grande Chaumiere. After its presentation in several exhibitions sponsored by the City, University of Paris, she returned to Cuba in 1950 and exhibited in the halls of the Lyceum of Havana her first personal exhibition:
Loló. Sculptures. Later, it was in the School of Law at the University of Havana under the title Loló 20 oil paintings. She returned to France in mid-1951 and joined the workshop Dewasne abstract painters and Pillet, with whom she worked for two years. In parallel, she attended a course of Hayter and taught Crochet on engraving techniques.
The exchanges held with representatives of the School of Paris defined, largely, the meaning of her work, to the point of causing a significant change in her creative process. Loló joined Vanguard Parisina call and participated in their exhibitions. In 1953, the Arnaud Gallery hosted the joint exhibition Loló / Varela, which was well received by critics. In 1955 exhibited in the gallery luminous reliefs Realités Nouvelles, in clear tune with their constant hunger for experimentation. The implementation of these plastic objects, which incorporated artificial light, was largely the result of industrial relations that had begun with the Spanish kinetic artist Eusebio Sempere, with whom she exhibited in 1954 in the Circle of the University of Valencia, Spain . By 1956 and after frequent trips to the island, finally returned to Cuba.
That year Loló organized, from the numerous originals and reproductions that brought the important painting exhibition today. Vanguard School of Paris, which was exhibited at the Palace of Fine Arts in Havana. In early 1957, under the auspices of the National Institute of Culture (INC), presented at the Palace of Fine Arts, Loló personal exposure. Oil paintings, collages, reliefs luminous 1953-1956. In the same year traveled to Venezuela, invited by the Integral Magazine, and made a successful shows in Room Career Center East in Villa Flor, Caracas. The link with that country dated back to relations that would support in Paris with some of the group members Dissidents formed by Venezuelans residing there. Upon the return, in October, founded, with Pedro de Oraá, Color-Luz Gallery and, in the late fifties, joined the group Ten Concrete Painters.
From the Revolution in 1959, played other tasks, such as professor of art at the School of Architecture (1960-1961), designer of toys at the National Institute of Tourist Industry (INIT, 1962) and editor of Granma newspaper (1965 -71). In 1965 founded the Plastic Space group and in 1966, the Havana Gallery presented the shows Op art, pop art, moon and me.
She dabbled in literature and also exercised, with notable successes, art criticism. Among his titles are Go, go, go back to (chronic), The lantern and Bombardment.
After her death, a major retrospective of her work in the gallery of the building of the Ministry of Public Health was organized. The Museo Nacional de Bellas Artes (Cuba) in Havana exhibited in 2006 a retrospective exhibition of her work entitled Loló: an imaginary world. Her works have been included in two major international exhibition projects organized in this century: Art of Cuba, traveling exhibition by several Brazilian cities (2006) and Cuba: Art and History. From 1868 until today, at the Museum of Fine Arts in Montreal, Canada (2008) and the Groninger Museum in the Netherlands (May to September 2009).
Loló Soldevilla is also noted for her commendable actions as a promoter of Cuban art, both inside and outside the country.
Loló Soldevilla began painting in 1948 and the following year settled in the French capital, where she studied sculpture at the Academy Grande Chaumiere. After its presentation in several exhibitions sponsored by the City, University of Paris, she returned to Cuba in 1950 and exhibited in the halls of the Lyceum of Havana her first personal exhibition:
Loló. Sculptures. Later, it was in the School of Law at the University of Havana under the title Loló 20 oil paintings. She returned to France in mid-1951 and joined the workshop Dewasne abstract painters and Pillet, with whom she worked for two years. In parallel, she attended a course of Hayter and taught Crochet on engraving techniques.
The exchanges held with representatives of the School of Paris defined, largely, the meaning of her work, to the point of causing a significant change in her creative process. Loló joined Vanguard Parisina call and participated in their exhibitions. In 1953, the Arnaud Gallery hosted the joint exhibition Loló / Varela, which was well received by critics. In 1955 exhibited in the gallery luminous reliefs Realités Nouvelles, in clear tune with their constant hunger for experimentation. The implementation of these plastic objects, which incorporated artificial light, was largely the result of industrial relations that had begun with the Spanish kinetic artist Eusebio Sempere, with whom she exhibited in 1954 in the Circle of the University of Valencia, Spain . By 1956 and after frequent trips to the island, finally returned to Cuba.
That year Loló organized, from the numerous originals and reproductions that brought the important painting exhibition today. Vanguard School of Paris, which was exhibited at the Palace of Fine Arts in Havana. In early 1957, under the auspices of the National Institute of Culture (INC), presented at the Palace of Fine Arts, Loló personal exposure. Oil paintings, collages, reliefs luminous 1953-1956. In the same year traveled to Venezuela, invited by the Integral Magazine, and made a successful shows in Room Career Center East in Villa Flor, Caracas. The link with that country dated back to relations that would support in Paris with some of the group members Dissidents formed by Venezuelans residing there. Upon the return, in October, founded, with Pedro de Oraá, Color-Luz Gallery and, in the late fifties, joined the group Ten Concrete Painters.
From the Revolution in 1959, played other tasks, such as professor of art at the School of Architecture (1960-1961), designer of toys at the National Institute of Tourist Industry (INIT, 1962) and editor of Granma newspaper (1965 -71). In 1965 founded the Plastic Space group and in 1966, the Havana Gallery presented the shows Op art, pop art, moon and me.
She dabbled in literature and also exercised, with notable successes, art criticism. Among his titles are Go, go, go back to (chronic), The lantern and Bombardment.
After her death, a major retrospective of her work in the gallery of the building of the Ministry of Public Health was organized. The Museo Nacional de Bellas Artes (Cuba) in Havana exhibited in 2006 a retrospective exhibition of her work entitled Loló: an imaginary world. Her works have been included in two major international exhibition projects organized in this century: Art of Cuba, traveling exhibition by several Brazilian cities (2006) and Cuba: Art and History. From 1868 until today, at the Museum of Fine Arts in Montreal, Canada (2008) and the Groninger Museum in the Netherlands (May to September 2009).
Loló Soldevilla is also noted for her commendable actions as a promoter of Cuban art, both inside and outside the country.