Josignacio
Josignacio in his Miami art studio.
Born
Josė Ignacio Sánchez-Rius

(1963-10-24) 24 October 1963 (age 60)
Havana, Cuba
NationalityCuban-American
Known forPlastic Paint Medium, Neo Figurative Art, Abstract Expressionism, Abstract art
Notable workThe Music is Timeless
The Three Wisest Monkeys
Sweet Adagio in Solo Guitar
The 3 O'Clock
Red Fish
The Virtual Key
Rhapsody Blue
MovementContemporary art "Cuban Generation of the 80s"
AwardsHortt 38 Best In Show '96, 1st Place in EVMCC '79 and '80

Josignacio (b. José Ignacio Sánchez-Rius, in Havana, Cuba, on October 24, 1963) is a Cuban Contemporary artist and author.[1][2] He is among the most significant living contemporary Cuban and Latin American artists due to his career auction records, paint medium innovations, and association with notable cultural events, venues, and celebrity figures in the United States and Cuba.

He emerged in Cuba's controversial, "La Generacion de los 80s,"[3][4][5][6][7] the 80s generation of contemporary Cuban art,[8] also referred to as New Cuban Art. This cultural decade in Cuba contrasted a country in transition, influenced artistic debates both at home and abroad, and began the generation's collaboration with “Volume 1" [9]  - a commitment to non-government mandated artistic expression. They included Rubén Torres Llorca, José Bedia Valdés, Ricardo Rodriguez Brey, Juan Francisco Elso, Rogelio López Marín (Gory), Gustavo Pérez Monzón,[10] José Manuel Fors, Leandro Soto Ortiz, Israel León, Tomás Sánchez and Carlos Alfonzo.[11]

In the second half of the decade, other artistic groups were formed, including 4 x 4, Grupo Hexágono, Arte Calle, Grupo Provisional, the duet René Francisco Rodríguez and Eduardo Ponjuán González [12]  and ABTV. Grupo Puré, another new wave of young artists, graduates of the Instituto Superior de Arte (ISA),[13] included Ana Albertina Delgado Álvarez, Adriano Buergo, Ciro Quintana.[14] Josignacio first gained artistic recognition in Cuba as a key figure of this period and was widely exhibited in Havana galleries during the 1980s.[15]

In 1984, Josignacio created the "Plastic Paint Medium" of art by mixing epoxy resins with oil colors and other pigments, resulting in a hard, glossed, 3D finish, a method which would become his identifiable style.[16] Josignacio is the first living contemporary Latin American artist to have an artwork surpass US$3 million at auction.[17][18]

His work has been exhibited in Cuba, Europe, the Northeast United States, and South Florida.[19][20][18]

Early life

Upbringing

Josė Ignacio Sánchez Rius was born on 24 October 1963 in Havana, Cuba.[1] He was raised in Havana during the post-Revolution period. During his upbringing, Josignacio was acquainted with several prominent Cuban national figures in the creative arts. These included the artists René Portocarrero, Amelia Peláez, Felipe López, Mariano Rodriguez, Roberto Fabelo, and Gilberto Marino, many of whom had established international profiles and several of which, most notably Portocarrero, would also mentor him with painting lessons.[17] He also knew famed Cuban ballerina and choreographer Alicia Alonso due to his cousins being professional dancers.[18] This exposure was highly formative to his creative development and influenced his own art career.

Early art career

He began to exhibit his work in 1979 at the age of sixteen.[15] In 1983, Josignacio passed the admissions test for the Instituto Superior de Arte (ISA) at the age of twenty. Before attending, however, he has shaved his head as a change in his personal style and appearance to reflect entering a new stage in his life.[21] This act was misinterpreted by the ISA administration as a protest against the Castro government, and he was subsequently banned from attending the institute.[21] Following this incident, the artist was largely self-taught and supplementally educated through continued mentorships, as in his childhood.[15]

Despite the reprimand, Josignacio chose to continue to pursue an art career. The following year, in 1984, he worked as a studio assistant for Martinez Anay and Andres Ugalde during their creation of a large scale public mural for the Sociedad de Educación Patriótico-Militar (SEPMI; the Military Patriotic Educational Society), the Cuban equivalent of the Boy Scouts.[21][22] The agency was then directed by former Cuban Cosmonaut Arnaldo Tamayo Méndez. His involvement in this public art project proved to be a significant turning-point for his career as it was during that period that the artist first discovered a method of mixing epoxy resin with oil paint.[21] This new medium took him two years to develop and refine through experimentation and would come to be known as the “Plastic Paint Medium.”[21] Josignacio held first career solo exhibition, secured by his uncle Gerardo, at the Artistic and Literary Lyceum of the city of Regla on March 2, 1987.[21] The exhibition was also notable for being the first global exhibition entirely composed of publicly displayed works in the Plastic Paint Medium.[21] During this period of developing the Plastic Paint Medium, Josignacio was a frequent patron of the renowned Havana restaurant La Bodeguita del Medio and part of the community of artists that would gather there.[23]

Josignacio (far-right) gathered with other artists in Havana's La Bodeguita del Medio restaurant, 1984.

By 1988, Josignacio was a member of the Asociación Hermanos Saíz (AHS), a Cuban youth arts institution,[24] and his career began to become increasingly impacted by international Cuban politics. As an AHS member, he was commissioned that year to create the design for one of the participating floats in the Havana Carnival.[25][26] Upon completion of his design and presenting it to the event commission, he was informed that his commission was canceled and the float design was recommissioned to fellow Cuban painter Manuel Mendive.[26] This was precipitated by a controversial incident in which one of Mendive's paintings, El Pavo Real, was burned by an anti-Castro activist following his purchase of the piece at an April 22 auction held in the former Cuban Museum of Art and Culture in Miami.[27] In reaction to this incident, the Castro government reassigned Josignacio's commission to Mendive in a show of solidarity.[citation needed]

Nevertheless, by 1989 Josignacio had become professionally established with his work exhibited in eighteen Havana galleries between 1987 and 1989.[15] A final career turning point occurred later that year as he was invited exhibit his art internationally in two venues in Mexico City: The Gallery of the National Auditorium and Centro Cultural Los Talleres in Coyoacán.[28][26] The planned shows were ultimately cancelled on May 10, 1989, by the Castro government by way of the Cuban embassy in Mexico City.[citation needed] This latest incident prompted the artist relocate permanently to the United States on September 14, 1989, where he would become a naturalized American citizen.[citation needed]

Career in the United States

Upon relocating to the United States in 1989,[29] Josignacio joined the South Florida Cuban diaspora in exile. There he quickly emerged as a major figure in Miami and Cuban exile culture and society. After becoming connected to Cuban fine art dealer Alfredo Martinez, Josignacio was introduced to his network and Martinez became a patron and supporter of his work.[17] Martinez owned two prominent art galleries in Coral Gables: Marpad Gallery and Alfredo Martinez Gallery.[17] Josignacio became a featured artist of both and would quickly establish himself in the American art market through the 1990s.[17]

In 1991 Josignacio had a solo exhibition in Marpad Gallery and was then a featured artist in the annual Art Miami contemporary art fair, in which he would maintain a regular presence through 2007.[30] The following year was a featured artist in Marpad Gallery's major collective exhibition marking the 500th anniversary of the Discovery of America, held in April 1992. The exhibition featured 37 Latin American artists from Cuba, Costa Rica, Haiti, El Salvador, the Dominican Republic, Venezuela, Colombia, Argentina, Panama, as well as from Spain.[31]

Josignacio experienced a pronounced career breakthrough in the United States by the mid-1990s. In 1996 he had a solo exhibition in Alfredo Martinez Gallery and participated in two prominent South Florida annual collective art exhibitions: Art Palm Beach and the Museum of Art Fort Lauderdale's 38th Annual Hortt Competition Exhibition, Florida's oldest juried art exhibition.[30] In the latter Josignacio won the Best in Show award[15] for which he was one of 80 featured artists exhibiting a total of 105 works chosen from a pool of over 1,300 submissions.[21][32] His winning piece was the work The 3 O'Clock.[33] In 1997 he exhibited in the Liquid night club, a high-profile Miami nightclub of the 1990s, in an exhibition organized by close Madonna associates Ingrid Casares[34] and Chris Paciello.[35] Casares and Paciello would also organize and host three additional exhibitions for Josignacio that year at Risk, another of their night clubs.[30]

In 2001 and 2002 he participated in the Cuba Nostalgia art fair and collective exhibition through Alfredo Martinez Gallery. The exhibitions featured other leading Cuban artists such as the Cuban Vangaurdia artists, Jose Maria Mijares, and Carlos Alfonzo.[30]

From 2006 to 2010, Josignacio was the subject of three film documentaries. In 2013 he published his first novel, Las Lagrimas del Cocodrilo.[2]

The mid-2010s was another pivotal period in Josignacio's career. In 2015 he returned to Cuba for the first time in 25 years since emigrating to the United States.[15] That same year he set the global auction record for the highest price achieved by a living Cuban artist with the sale of The Three Wisest Monkeys for US$720,000 in Las Vegas, Nevada.[36]

Painting diptych of José Martí, November 18, 2017. The artwork is on permanent display at The National Library José Martí.[37]

In March 2016 Josignacio set the global auction record for the highest price achieved by a living Latin American artist with the sale of The Music is Timeless (1989) for US$3,481,205.00 in London.[19] This was also the first work by a living Latin American artist to surpass US$3 million at auction.[17][18] Josignacio's Rostro (1989), sold for US$2,329,200.00 in London.[19] This marked his second instance of reaching the multimillion-dollar threshold at auction and cemented the market value of his artwork in the 21st century.[19] That year Josignacio returned once again to Cuba to display works from his Dancers series, at the request of his childhood friend, Cuban ballerina and choreographer Alicia Alonso.[18] This was first time the series had been exhibited in Cuba.[18] Among the works was a figurative painting of Alonso, which was exhibited at the International Ballet Festival in The National Ballet of Cuba in Havana.[21]

In 2017 the artist developed three major new series of work: one of the Chinese Zodiac, one of Cuban national hero José Martí, and one of LGBT+ themed works in opposition to homophobia and transphobia.[38][37][39] Each was unveiled and displayed in exhibitions centered on their respective themes.

In 2021 he was a featured artist participating in Art Basel Miami; this was the international art fair's first showing since the outbreak of the global coronavirus pandemic.[18]

Style and analysis

Josignacio's artwork is described as varyingly abstract, semi-abstract, and neofigurative.[18][37] His works emphasize color over form and he typically works in large scale formats.[38]

He best known for working in and pioneering the "Plastic Paint Medium," which he first developed in 1984.[18] The medium uses clear epoxy resin mixed with color pigment which is then drip-poured unto surfaces to create forms. The resulting effect achieves a brilliance in color and shine Cuban art critic Yoel Almaguer de Armas compares to painted glass.[38]

The term Plastic Paint Medium was first coined by Dr. Jose Antonio Portuondo who wrote in the catalog for Josignacio's first solo exhibition in 1987. In it, he described the use of epoxy resin as an “agglutinating medium” and called Josignacio the artistic representative of the “Plastic Era.”[40] Its impact and avant-garde nature has been called “A revolution inside The Revolution” by Colombian writer Gabriel García Márquez while art critic Leonel López-Nussa described it as “New-Ism.”[40][41] Dr. Kenworth W. Moffett, former Museum of Art Fort Lauderdale Director, described the Plastic Paint Medium as "the result of the marriage of art and technology."[40] Among the medium's practical advantages are that it is more durable against the elements as well as better resistant to the effect of UV light than standard oil and acrylic works.[21]

"Fénix" (Phoenix) by Josignacio.

Despite the "Plastic Era" associations of Josignacio's Plastic Paint Medium, there have also been psychological, philosophical, and anti-commercial statements found within his work.[42] Like the Abstract Expressionists, his method engages in what he describes as a “dialog” with his works while creating them, allowing himself to be guided to a conclusion rather than tightly controlling the outcome.[21] This approach prioritizes the unconscious over the conscious in the creating process.[42] As such, he has stated that he is more interested in the organic abstract elements that emerge in his creative process than in the result, which allows for a continual discovery of new aspects to the works after completion.[21] He has also incorporated abstracted ambiguous images in his art to contrast the superficial elements and encourage deeper psychological reflection from the viewer.[42]

Among his most well-known and reported series of works are his auction record-breaking Guitar series, his various animal series, as well as more figurative representations of the human form.[18][21]

His most recent works since the end of the 2010s further experiment with contemporary mediums, such as multimedia, sculptural, and three dimensional works that incorporate LED light.[18][43]

Influences

Early Cuban abstract art, European art, and mid-century American art are significant influences in Josignacio's art. After 1960 and during Josignacio's upbringing, Cuban abstract art[44] was scarce or considerably silenced on the island as a result of the Cuban Revolution.[45] This contributed to the radical, avant-garde nature of the art emerging in Cuba during the 1980s. The 80s Generation group would coalesce around Galería Color-Luz, which was started just after Ms. Soldevilla returned from several years in Paris as Cuba's cultural attaché, bringing European influence. Her partner in the effort, Pedro de Oraá, an artist, poet and art critic, born in 1931, also wrote a short history of the group.[46]

Josignacio was influenced by the Abstract Expressionists of the New York School (art), especially Jackson Pollock, from whom he originally saw the use of dripping and pouring paint onto canvases. However, instead of alkyd enamels that Pollack used, Josignacio used his "Plastic Paint Medium" technique of mixing epoxy resins with oil colors and other pigments. Dutch painter Karel Appel's faces[47] and Russian artist Wassily Kandinsky's mix of colors [48] were also special focuses. From Dutch-American Willem de Kooning.[49] Josignacio learned the centered figure compositions[50] Another influence of Abstract Expressionism is his use and strong incorporation of fluid, largescale color field backgrounds in his works. Josignacio was also influenced by his early exposure and mentorships from Cuban Vanguardia artists, such as René Portocarrero, and their use of color.[17]

In addition to the formal elements of fine art movements and artists, the Josignacio has also cited other influences to his work outside visual art. These have included music (particularly in his Guitar series), human emotion, and the details within the natural world.[51] In regards to nature, Josignacio has acknowledged using close-up images of fossil rocks, deep-sea flora and fauna, and outer space as references and inspiration for his work.[51]

Recognition and legacy

Josignacio is best known for developing the Plastic Paint Medium, as well as for breaking auction records for living Cuban and Latin American artists.[17][18] As his profile has expanded since beginning his career in the 1970s, Josignacio's artwork has been exhibited in major art markets in Europe, Cuba, and the United States including Havana, London, New York City, New Jersey, Miami, Coral Gables, Miami Beach, and Fort Lauderdale.[18][19][20] This has included participation in international art fairs, exhibitions, and prominent venues including Art Palm Beach, Art Miami, Art Basel Miami, the Miami Design District, and the Museum of Art Fort Lauderdale's Annual Hortt Competition Exhibition. His art is in the permanent collection of the Cuba's National Library, the Biblioteca Nacional de Cuba José Martí.[37] His artwork is also included within the private collections of the several most prominent figures of the 20th and 21st centuries across a range of fields. His collectors have included Madonna, Jay-Z and Beyoncé, Emilio and Gloria Estefan, former US President Bill Clinton, and leading Latin American art collections including Alfredo Martinez.[52][53]

Josignacio's career has been covered by international media including Architectural Digest,[54] ARTnews,[55] The Miami Herald,[56] El Nuevo Herald,[57] Diario Las Américas,[18] Arts Coast Magazine,[17] New Miami Times,[35] Arteinformado,[58] Granma,[59] Radio Rebelde,[21] Coral Gables News,[52] and the Biscayne Bay Tribune.[53]

In addition to published exhibition catalogs, he has been mentioned in books such as Asbury Park: A Century of Change and included in The Review of Inter-American Bibliography (1998) by Organization of American States.[20][60] In 2023 his US career became the subject of the book Josignacio: Genio del Oleo y la Resina. Tomo I (Josignacio: Genius of Oil and Resin. Volume 1).[61]

Josignacio's career has been the subject of several film documentaries in English and Spanish including Josignacio: Las Formas del Color (2008; by Art Work Productions and directed by Roberto J. Cayuso), as well as Josignacio: The Master of Colors (2010) by Calico Productions and directed by Daniel Urdanivia.[62] He has also been featured in the documentaries La Pintura Cubana (2006) Art Work Productions and Los pintores cubanos: Dos siglos de pintura cubana by Latin American Art Consultants.[63] Josignacio has also written published letters in support of other artists, including Alfredo Martinez and Edel Alvarez Galban.[64][65]

The Vasari Project maintains archives relating to Josignacio's career due to their cultural significance to South Florida and the Cuban community.[66] The Vasari Project is overseen by the Miami-Dade Public Library System to document artistically significant records pertaining to the Miami-Dade County region from the Post-World War II era through to the present.[67]

Social causes and charity work

Josignacio contributed to social charities by donating his artworks to raise funds for various causes.

Within months of his arrival to Miami art scene, art historian and former Miami Herald art critic Helen Kohen[68][69] wrote about Josignacio's dedication to help raise money for AIDS patients of Genesis Project in 1990, six months after his arrival to the United States.[56] These auctions, held at InterContinental Hotel Miami, were presided by Julio Hernandez Rojo[70] and Dolores C. Smithies.

Since 1996, Josignacio has been a fundraiser for the Miami Children's Hospital.[citation needed] He has also worked on behalf of earthquake victims and hurricane victims.[citation needed] In 2017, a portion of the proceeds from the sale of his painting Smooth Guitar was donated to aid those affected by Hurricane Irma.[71]

Public art

Tree of Life 2011. Public art triptych featured in Asbury Park Transportation Center, Asbury Park, NJ.[72]

In 2011, Josignacio produced a 8-foot x 12 foot mural titled Tree of Life in Asbury Park, New Jersey. This triptych represents a convergence of the past, present and future, to create an image of humanity, and is dedicated to the children of Asbury Park. Tree of Life is permanently located at the Asbury Park Transportation Center on Main Street in Asbury Park, New Jersey.[73] Tree of Life was the first artwork to be exhibited in the Asbury Park Transportation Center[20] and is valued at US$180,000.[74]

In 2017, Josignacio donated a diptych of José Martí to the permanent collection of the Biblioteca Nacional de Cuba José Martí (the José Martí National Library of Cuba).[37] The diptych was inspired by a quote from Martí: “Mi verso es de un verde claro y de un carmín encendido” ("My verse is light green and burning carmine”), which defined the joint color field background of the works.[37] They were unveiled in the exhibition “Martí visto por Josignacio” (Martí seen by Josignacio) at the El Reino de Este mundo Gallery, of the National Library of Cuba.[37]

Awards

Auction records

Josignacio has achieved the highest auction hammer price among living contemporary Latin American artists.[17] As a blue chip artist, his large scale works have recurrently surpassed $100,000 at auction.

On December 23, 2014, Josignacio's The Three Wisest Monkeys (1991) was sold for a hammer price of US$720,000 at Pangaea Auction House in Las Vegas, Nevada.[36] This sale set Josignacio as the highest achieved auction price by a living Cuban artist globally, surpassing Tomás Sánchez who previously held the record at $540,000.[citation needed]

The Three Wisest Monkeys. Sold for US$720,000 in Las Vegas on December 23, 2014.

In 2015, nine of Josignacio's works collectively attained a total of $2,152,500 at auction.[75] Of them, The Key of Success (2011), sold on December 15, 2015, for a hammer price of US$574,750 at Miami Auction Gallery, Miami, Florida.[76] Another work, Sweet Adagio in Solo Guitar (1994), from his Guitar series, sold for $630,000.[75]

On March 10, 2016, Josignacio's The Music is Timeless (1989), another of his Guitar series, sold for a hammer price of US$3,481,205.00 at McCarthy-Williams Auctions in London.[19] This is currently the highest price attained for a painting by a living Latin American artist and the first to surpass US$3 million.[17][18][52] It had been estimated to sell between $480,000 and $620,000.[19]

On July 7, 2016, Josignacio's Rostro (1989), sold for a hammer price of US$2,329,200.00 at McCarthy-Williams Auctions, London and surpassed its estimate range of $600,000 to US$850,000.[19]

Other art ventures

For commercial art commissions, Josignacio launched and trademarked his brand under the corporate name "Josignacio Art Studio."  Through this name, the artist has produced commissioned commercial, decorative art and ornamental art in addition to his fine art works.

These commercial works include original furniture, frames, and mirrors made in the mediums of wood, cork, reed, cane, wicker, horn, bone, shell, amber, mother-of-pearl, and meerschaum as well as plastics.[77] He has also been commissioned to design the cover illustration for books.[78]

His art corporation is filed and registered in the state of Florida. It was initially launched as Josignacio Art Studio, Inc. in 1994 and based in Coral Gables.[79]

In 2021, the firm was reorganized and relaunched as Josignacio Art Studio LLC. and is now based in Miami Beach.[77]

Select exhibitions

Early exhibitions

From 1987 to 1989 Josignacio had his artwork displayed in Havana at the following galleries for exhibition:

Post-1990 exhibitions

Following his arrival in the United States and early inclusion in a 1990 AIDS charity auction at the InterContinental Hotel Miami, Josignacio participated in group exhibitions at the controversial[88] Cuban Museum of Arts and Culture as well as several Miami art galleries.

Writings and essays

References

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  2. ^ a b Sanchez-Rius, Josignacio (2013). Las Lágrimas del Cocodrilo (in Spanish). Create Space Publishing. ISBN 9781481882958. Retrieved 20 April 2023.
  3. ^ Geysell Cisneros (June 6, 2017). ""The Prodigious Decade", una mirada a la generación de los 80". Tribuna de la Habana. Retrieved June 6, 2017.
  4. ^ Adriana Herrera Téllez (April 22, 2010). ""Paradojas del arte cubano de la generación disidente de los 80" In the writing of the history of Cuban art of the second half of the 20th century, the mention of an exhibition, mythical for its foundational role in the emergence of artistic contemporaneity, is unavoidable: Volume I" (PDF). Revista Sin Frontera. Retrieved October 28, 2018.
  5. ^ Conexión Cubana (May 22, 2016). ""Historof Art in Cuba" The emancipation of the 80s". Cuban Fine Art. Retrieved October 28, 2018.
  6. ^ Janet Batet (February 27, 2018). ""La generación de los 80's en el Arte Cubano – El contexto" To understand how what is later called the Generation of the 80s is conceived in the history of Cuban art, one must take into account an institutional condition that is almost always forgotten in relation to Cuban culture". Arte Mundo Latino. Retrieved October 28, 2018.
  7. ^ Alfredo Triff (August 26, 2018). ""La generación descarriada de los 80" For these misguided artists of the generation of the 80 the situation is still promising. The very fact of its marginality and aesthetic diversity are precisely elements in favor of the search for new forms and contents". Diario de Cuba. Retrieved October 28, 2018.
  8. ^ Peter Plagens (November 29, 1992). ""The Next Wave from Havana" They are known as the "Generation of the '80s", the artists who grew up in Cuba after the 1959 revolution". Newsweek. Retrieved February 10, 2018.
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  105. ^ E. Fernández (October 28, 2016). ""Fascinación por tules" In the exhibition De Douceur Á Intense, in the Lecuona room, a figurative portrait of the Prima ballerina assoluta, Alicia Alonso, is included. With the innovative technique of Plastic Paint Medium, Josignacio offers his personal vision that seemed to capture in plastic the spirit of dance in the nineteenth century"". Radio Reloj. Retrieved January 6, 2018.
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  112. ^ "Comienzan festejos por Nuevo Año Lunar Chino".
  113. ^ Josefina Pichardo (April 28, 2017). ""Y llegó La Bodeguita del Medio a su 75 Aniversario" After distinguishing the workers with more than 20 years in La B del M, the painter Josignacio donated to the establishment his work "Mojito", specially made for the occasion; and Professor Jorge Méndez, of the Mintur, highlighted the part that touches gastronomy in the heritage value that La Bodeguita has ... and advocated that in the future Cuban food can be counted on the list of the Intangible Heritage of Humanity". TTC. Retrieved March 25, 2018.
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  115. ^ "Siete guitarras contra la homofobia y la transfobia (+Fotos)".
  116. ^ Onaisys Fonticoba Gener (June 4, 2017). ""Celebran en La Habana Jornada de la Cultura China" Li Cecilio added that the festivities will be extended to the Expocuba fairground, where the Hermandad, Flora, Lieng and Li D Fong exhibitions will be inaugurated; China in pure color, by the plastic artist Josignacio; The musical voice of China, courtesy of the Casa de Asia Museum; and Chinese presence on Cuban postage stamps". La Jiribilla, Revista Cultural Cubana. Retrieved March 25, 2018.
  117. ^ "Inicio".
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  120. ^ Avelino Víctor Couceiro Rodríguez (October 12, 2017). "El Arte Abstracto dentro de la Jornada por el Día de la Cultura Cubana". UNEAC National Union of Writers and Artists of Cuba. Retrieved February 10, 2018.
  121. ^ "Archived copy" (PDF). Archived from the original (PDF) on 2017-11-08. Retrieved 2017-11-07.((cite web)): CS1 maint: archived copy as title (link)
  122. ^ MsC. Nancy Machado Lorenzo (October 17, 2017). "Palabras de inauguración de la exposición Martí visto por Josignacio. Josignacio satisfies us because his work, in which his vision of the Master is also reflected, will be a meeting point between himself, the Library and the public that visits him and that, under the protection of the Kingdom of This World Gallery, he will be able to enjoy the art that dignifies and exalts". Biblioteca Nacional de Cuba José Martí. Retrieved March 25, 2018.
  123. ^ MSc. Nora Rodríguez Calzadilla (October 25, 2017). "Martí visto por Josignacio: lirismo y majestuosidad en el lugar ideal. Martí seen by Josignacio: lyricism and majesty in the ideal place". Radio Enciclopedia. Retrieved October 31, 2017.
  124. ^ NM Lorenzo (October 17, 2017). "Exposición del artista de la plástica José Ignacio Sánchez Rius (Josignacio) en La Galería El reino de este mundo. Presentation of the project on the figure of the National Hero José Martí". Biblioteca Nacional de Cuba José Martí. Retrieved March 25, 2018.
  125. ^ Jorge Fernández Era (October 19, 2017). ""La Mirada de Josignacio a Martí" The Martí exhibition by Josignacio was inaugurated in the gallery The Kingdom of this World as part of the celebrations for the 116th anniversary of the National Library of Cuba José Martí. The sample consists of twenty-eight paintings made between 1987 and 2017, and in it, according to curators Eliset García Deulofeu, Yoel Almaguer de Armas and Diana R. Crespo Tapia, the artist proposes a visual concert inspired by life and the work of the Apostle José Martí". APE News. Retrieved March 25, 2018.
  126. ^ MsC. Nancy Machado Lorenzo (October 19, 2017). ""Martí visto por Josignacio" On the afternoon of October 18, the anniversary of the founding of the BNCJM, the exhibition "Martí visto por Josignacio" was opened to the public, as a tribute of the artist to the figure of the teacher and the institution that carries his name and treasure the bibliographic heritage of the Cuban nation". Biblioteca Nacional de Cuba José Martí. Retrieved March 25, 2018.
  127. ^ Maitte Marrero Canda (January 28, 2018). "Una rosa sincera de José Martí a Guatemala". Prensa Latina. Retrieved January 28, 2018.
  128. ^ Yisel Martínez (January 24, 2018). "To be a follower of Martí is to be a patriot. On the 165th anniversary of his birth, José Martí continues to embody the human being to which Cubans aspire". Granma newspaper. Retrieved January 28, 2018.
  129. ^ Juventud Rebelde (January 28, 2018). "Historiador Eusebio Leal destaca trascendencia histórica del apóstol José Martí: Apóstol es aquel que lleva una palabra, el que va a transmitir un mensaje por eso no se le puede despojar de ese título a Martí, subrayó Leal". Retrieved January 28, 2018.
  130. ^ Eliset García Delofeu (June 26, 2017). ""Delirium" The vestiges of the drawing serve as the primary idea for the unleashing of an ordered chaos of loose spots and brushstrokes. There are remnants of a figuration flagellated by the explosion of spots and the use of dripping. There are no attachments to the form, nor reminiscences to the perfecting stroke of the drawing. Freedom is the undeniable term to the creation of the artist and this finds the rationale in abstractionism. Convergence of extinct figuration and abstract flights, here is Josignacio". On Cuba. Retrieved March 25, 2018.
  131. ^ Yoel Almaguer de Armas (January 26, 2017). ""Josignacio y la boca Abierta" The Tiger is a picture that is not displayed. The original will never be displayed. Josignacio painted it but it was a gift painting, made with special effort, perhaps with fear as well, with some curiosity and with the desire that this work was at the level of the person for whom it was created". Radio Rebelde. Retrieved March 25, 2018.
  132. ^ Yoel Almaguer de Armas (June 1, 2017). ""Siete Guitarras contra la Homofobia y la transfobia" Seven Adagios for Sappho and Ganymede was an attempt to support the painter Josignacio for the Day against homophobia and transphobia: a visual gift interpreted from the musicality of guitars that are not exact with each other, but that inspire calm, calm and harmony". Radio Rebelde. Retrieved March 25, 2018.
  133. ^ José Ángel Téllez Villalón (November 15, 2017). ""El Martí de Josignacio" Martí seen by Josignacio is the title of the exhibition that occupies these days the gallery The Kingdom of this World of the National Library of Cuba José Martí, recently inaugurated, on the occasion of the anniversary of the founding of this institution and within the framework of the Conference for the National Culture". UNEAC. Retrieved March 25, 2018.
  134. ^ Nathalie Mesa Sánchez (November 6, 2017). ""Un Extraordinario Producto Artístico" Under the curatorship of Eliset García Deulofeu, Yoel Almaguer de Armas and Diana R. Crespo Tapia, the exhibition presents us representations of the Martí of the Spanish dancer, the one of the white rose, the one of the black doll, the visionary of the future". Tribuna de la Habana. Retrieved March 25, 2018.
  135. ^ José Ángel Téllez Villalón (November 15, 2017). ""Martí visto por Josignacio" A Cuban artist linked to the neofiguration and abstractionism that this time proposes 28 works, fruit of his approach to the life and work of José Martí, billed with his novel technique of Plastic Paint Medium and his peculiar visual lyric". Ministerio de Cultura República de Cuba. Retrieved March 25, 2018.
  136. ^ "Cubarte - "Martí visto por Josignacio" / Por: J. Ángel Téllez". Archived from the original on 2017-12-09. Retrieved 2017-12-09.
  137. ^ Toni Piñera (November 21, 2017). "Visions of Martí. Each generation has left, in the Martian images, their own mythologies, showing us, at the same time, the historical significance at that time assigned to the national heroes". Granma Newspaper. Retrieved November 23, 2017.
  138. ^ MSc. Nora Rodríguez Calzadilla (December 8, 2017). "Martí seen by Josignacio in the soul of art that enhances and exalts. Martí visto por Josignacio en el alma del arte que acrisola y enaltece". Radio Enciclopedia. Retrieved December 31, 2017.
  139. ^ Nathalie Mesa Sánchez (January 2, 2018). ""La Identidad de un creador""The Identity of a Creator" On Sunday, November 5, the Tribune of Havana published an article about one of the most profound exhibitions that have taken place in Havana in recent months. The title of the same: Martí seen by Josignacio, comes from the interpretation and representation that this artist has made to the life and work of Our Apostle". Tribuna de La Habana. Retrieved January 4, 2018.
  140. ^ José Ángel Téllez Villalón (January 27, 2018). ""El Martiano Josignacio" Conocí a José Ignacio Sánchez Rius (La Habana, 1963), o simplemente Josignacio, a través de sus pinturas. Fue uno de esos sábados que me "voy de cuadros", en que tuve la dicha de toparme con su exposición Martí visto por Josignacio, en la galería El Reino de este Mundo de la Biblioteca Nacional de Cuba". Cubarte. Retrieved March 27, 2018.
  141. ^ Revista de la Biblioteca Nacional José Martí de Cuba (September 18, 2018). ""Martí vs Dos Ríos" Magazine founded in Havana City in the year 1909. With more than a century of been established, this iconic publication have always selected for its covers meaningful images of the most prestigious artists as well significantly events. In this occasion, the directive of the publication No 1 2018, has selected an artwork to illustrate cover and back cover a painting of contemporary Cuban artist Josignacio". Cubarte. Retrieved September 12, 2018.
  1. ^ "Leonel López-Nussa Exhibition: a confident mosaic about the life of a creator". CMBQ Radio Enciclopedia.
  2. ^ "Freddy Moros: 55 años de periodismo televisivo".
  3. ^ "Cuba News / Noticias - CubaNet News".
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