COLLECTION SEARCH RESULTS

Text from Breaking Barriers exhibition 1997-----
Antonia Eiriz (1929-1995). Born in Havana, Cuba----Studied at San Alejandro Academy of Fine Arts, Havana----Left Cuba in 1995----Died in Miami, Florida
------One of the most important artists to come of age during the Cuban Revolution, Antonia Eiriz was a provocative, paradoxical figure. (She) never conformed to the officially prescribed Social Realist style or subjects. Eiriz’s paintings from the 1960s often dealt with the excess of demagoguery. And (despite her denials) were interpreted as critical of the Cuban government.
Entre lineas (Between the Lines) is typical of the works of Eiriz painted in Miami from the time she arrived in 1992 until her death in early 1995. With rich, expressive brushwork (Eiriz) depicts a crowd of skulls hovering above a single screaming figure – a direct descendant of Edward Munch’s “The Scream”…. The title of the painting implies a hidden meaning written “between the lines.” This state of limbo where the rules are unspoken and constantly shifting, a condition familiar to Eiriz, and she deftly conveys its terror in this haunting painting.
------Una de las artistas más destacada surgidas en el transcurso de la Revolución Cubana, Antonia Eiriz, fue una figura provocativa y paradójica. Nunca acepto las reglas oficiales prescritas sobre el estilo o los temas socio-realistas. Su obra de los anos 60 a menudo trata de los exceso de la demagogia y, (a pesar de negarlo) se interpretaban como críticas al gobierno cubano.
Entre líneas (Between the Lines) es típica de las obras realizadas por Eiriz luego de su llegada a Miami en 1992 hasta su muerte a principios de 1995. Con fuertes y expresivos trazos, Eiriz representa una multitud de cráneos rondando sobre una única figura gritando… El titulo del cuadro implica un significado oculto "entre líneas". Esa incertidumbre sobre reglas sobre-entendidas y siempre cambiantes, situación bien conocida por Eiriz, comunica hábilmente ese sentimiento de terror en este cuadro obsesivo. (Excerpts from an exhibition catalog essay by Curator Carrie Przybilla which appeared in J. Carter Brown’s Rings:Five Passions in World Art, Harry N. Abrams, Inc. Publishers, N.Y. in association with The High Museum of Art, Atlanta, Georgia, 1996, p. 106)