Description:

Loló Soldevilla
Pinar del Rio/Kuba 1901 – 1971 Havanna/Kuba
„Sin titulo“
1954
Material collage geometric wooden body in white and black on mesonite plate, original artist frame
72 x 83 x 2,6 cm

Backside:
In white color field signed by hand "Lolò" & dated (19)54

Expertise:
Certificate of Authenticity by Martha Flora Carranza Barba, dated August 1st, 2021

Provenance:
Marina Hidalgo, Havanna/Cuba
"Hidalgo Art Gallery", founded in 1951 by Mirana Hidalgo-Cruz on Prado Boulevard in Havana/Cuba.

Loló Soldevilla, full name Dolores Soldevilla Nieto, was born in 1901 in Pinar del Rio, Cuba. In her first profession of choice, Soldevilla was a teacher in Havana. It was not until 1948 that the artist began to paint, and in 1949, when she resided in the Cuban Embassy in Paris in the capacity of cultural attaché, her career unfolded. She attended teaching courses at the Académie de la Grande Chaumière. In 1950, Lolo returned to Cuba, where she had her first two solo exhibitions of sculptures and paintings. This permanently changed not only her life, but more importantly the artistic discourse of abstraction in Cuba in the 1950s. Arriving back in Paris in 1951, she worked at the Atelier d'art abstrait and turned to geometric abstraction. Her works from the 1st half of the 1950s were often created in collaboration with the representative of kinetic art, Eusebio Sempere (1923-1985), and feature geometric forms throughout. From 1951 to 1955 she participated in the Salon des Realités Nouvelles; the work Lolo from 1954 shown here can also be assigned to this period.
In 1956 Soldevilla returned to Cuba with her husband Pedro de Oraá. In her homeland, the artist became a central mediator between the European avant-garde and the new directions of abstraction in Latin America. Together, the two artists founded the Galeria Color-Luz. There, in 1956, at the Palacio de Bellas Artes, Lolo organized the exhibition Pintura de hoy. Vanguardia de la Escuela de Parisand opened the Galería de Arte Color-Luz in 1957, which became the central meeting point for the group she co-founded in 1958, Los Diez Pintores Concretos. (The Ten Concrete Painters) or simply called Los Diez (The Ten), were a group of artists who established the style of 'Concreteism' and 'Concrete' art in 1950s Cuba, creating a whole new language of abstraction. Soldevilla's sense of geometric abstraction played an important role in the development of Concretism both in Cuba and in the international art scene.
Her training in Paris and the connections she made with her colleagues and other contemporaries led her to the most important period of her work from 1950 - 1957. Her collages from this period are studies of geometries of circles, rectangles, lines and colors, which create a rhythm through their different sizes and shapes. Variations of diagonals, opposing elements and a geometric, organic style differentiate Loló from her contemporaries.
In addition to returning to Cuba, Soldevilla traveled extensively throughout her career and was influenced by the avant-garde of various countries in Europe and Latin America. From Spain to Switzerland, Austria and Germany, the Netherlands and Belgium, Great Britain to Brazil and Venezuela, her study trips led. Just as the opening of the Galeria Color-Luz was the birth of Los Diez, its closing in 1961 meant the official dissolution of the group. They had exhibited together only three times.
With the Cuban Revolution, Lolo's artistic productivity waned. In the last decade of her life, Lolo devoted herself to journalistic and literary activities, working for various magazines and newspapers, and even writing her own memoirs about life in Paris, entitled Ir, venir, volver a ir: crónicas (1952-1957) "Going, Coming, Going Back: Chronicles, [1952-1957]"). She was also an avid author, writing novels, plays, and even a ballet. Although she rarely exhibited in the 1960s, she remains a seminal, revolutionary figure in the history of Cuban art and the flowering of concretism and concrete art.
Soldevilla died in 1971 in Havana, Cuba

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