Deceptive Fruits of Nature in CubaThe Works of Julio Larraz free essay sample

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. 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 . ?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. We will write a custom essay sample on Deceptive Fruits of Nature in Cuba:The Works of Julio Larraz or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page 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 Cubas 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 (198 6)).?