Wifredo Lam Essay Example

War, he fought with the Republicans and met Manolo Hugue while recuperating from an intestinal infection in a hospital. Manolo was a sculptor and a close friend of Pablo Picasso who received a letter of introduction from Lam when he visited France in 1938. Picasso and Lam became close friends and held a joint exhibit. This friendship was crucial as it introduced Lam to Andre Breton and Benjamin Peret, the leaders of the surrealist movement. Their influence significantly shaped Lam's work.

Lam became known as a surrealist artist before his return to Cuba in 1941. Surrealism originated as a response to the devastation of World War I, with its practitioners arguing that the rationality and industrialization of society had led to the numerous casualties of the conflict. Surrealism therefore proposed embracing irrationality as a way to counter this trend. In art, surrealism uses images and symbols that tap into the unconscious mind's hidden depths.

Within his art, Lam incorporated symbols intended to evoke subconscious emotions while also utilizing surrealist techniques to address social issues that he considered significant. Lam's personal form of surrealism involved a commentary on important social matters, as he stated himself: "...

Described as "surrealism with a cause," Lam's brand of surrealism derives its power from the idea of freedom and creativity. This liberation represents humanity's final act of rebellion, and its unique qualities make it a distinct form of surrealism. Barnitz aptly characterizes the artistic style developed by Lam as surrealism with a purpose.

Using surrealism's symbols and the unconscious ideas, Lam highlights his concerns regarding critical social issues that matter to him. The main focus of Lam's artistic endeavors was

to bring into light the dismal social conditions prevailing in his homeland, Cuba. His artworks aimed at depicting the sufferings, frustrations, and social inferiority of the impoverished black community he felt connected to. Lam expressed his emotions about observing the state of black people upon his return to Cuba to Max-Pol Fouchet, revealing that during his visit Havana was perceived as a land of pleasure where people enjoyed sweet music, mambas, rumbas, and the like, with black folks representing picturesque elements.

At the time in Cuba, the black race was imitating the whites and wishing they had lighter skin. A division existed between the blacks and mulattos, with each group disliking the other for their skin. The mulattos were unhappy with their skin color because they did not look like their fathers nor were they fully white. This description of the black race greatly affected Lam, who had a connection to this issue due to his mother's partial African descent.

Lam's aim was to depict the dire social condition of black people in Cuba through his art. His works were intended to serve as a critique of the plight of blacks in Cuban society. His masterpiece, "The Jungle" (Figure 1), created in 1943, demonstrated his skillful deployment of surrealist style with a socially conscious message. Lam returned to Cuba after fleeing the advancing Nazis in France and endured a grueling journey on various steamer ships. He was determined to raise global awareness of the dismal social status of black people in Cuba. Rather unusually for Latin American art, this particular piece was not primarily intended for local audiences.

The state of African descended people in Cuba was

well-known among its citizens. However, "The Jungle" was created as a work of art for a global audience, specifically to draw attention to the poor living conditions in Cuba. The title is the first and most striking aspect of this piece.

Despite being titled "La Jungla," there are no jungles in Cuba. At first glance, the viewer is drawn to the calming tones of green and blue and the bamboo-esque shoots protruding from the backdrop. The title seems appropriate given the colors and foliage, but in reality, the observer is gazing upon a sugar cane plantation.

In this passage, Lam depicts a location associated with shameful and unpleasant events, potentially referring to the history of slavery in Cuban sugarcane fields. The inclusion of sugarcane plants contributes to an atmosphere of tightness and frustration, likely exacerbated by the dim lighting suggestive of moonlight or limited illumination. Art critic Barnitz interprets the sugarcane background as a representation of servitude, while Lam himself explains his intention in depicting this scene.

Despite its title, the depicted Cuban countryside does not feature a jungle, but rather wooded areas, hills, and open terrain with a sugarcane plantation in the background. The purpose of the image is to convey a psychological state of disapproval towards any events that may occur in the jungle, as desired by Lam.

Lam sought to depict a state of being that resembled a frenzied funk, which he referred to as a "psychic state." This mindset is easily understood by spectators. "The Jungle" initially presents a challenge to grasp with its intricately entwined cubist figures and somber palette.

In my opinion, Lam's intention in "The Jungle" was to draw

attention to the "psychic state" of the subjects depicted in the painting. The four cubist women intertwine with the foliage around them and catch the observer's eye with their distorted and exaggeratedly large breasts and rumps. The limbs of the women appear to sprout from various parts of the surrounding foliage. As Lucie-Smith notes, the women in the painting have "vestigial torsos" and "huge feet," with their breasts and rumps appearing swollen like ripe fruit. This observation accurately highlights their physical features.

In line with the overall concept of the women being interconnected with the surrounding flora, they start to display traits associated with the plants rather than themselves. Furthermore, several of the branches that seem to protrude randomly from the sugarcane take on traits of human limbs, resembling a combination of an arm and a branch. This enhances the impression of merging plant and human existence.

Lam's exaggeration of the female form in "The Jungle" serves to depict the women as he sees them in his homeland of Cuba. As he comments on his creations, he highlights their monstrous nature and provocative gestures. The inclusion of such characteristics reveals Lam's dissatisfaction with the social status of the subjects. Overall, "The Jungle" exudes a primitive atmosphere.

The characters depicted in "The Jungle" appear to be engaged in a ritualistic dance reminiscent of tribal paintings. The symbols used in this artwork convey a strong social message. The focus of the piece is the human-plant hybrids, who wear African-inspired masks that connect them to the black population of Cuba and add to the sense of primitiveness.

The usage of masks in this piece of art is

reminiscent of how African masks were depicted in Picasso's "Les Demoiselles d'Avignon" (refer to Figure 2). These masks are present for multiple reasons. Firstly, they serve as a clear connection between the masks and the African descended people that this artwork was created to support. Lam's intention was to bring to light the challenging social circumstances that the black population in Cuba was facing and he desired to establish a connection with them using the masks. Secondly, the appearance of African masks is meant to represent and acknowledge the religion of Santeria - a belief system followed by many black individuals in Cuba. Santeria is a fusion of Catholic and Yoruba beliefs, as previously discussed.

Barnitz notes that the designation of "The Jungle" as the title of Upton Sinclair's novel might refer to a venerated location called "the jungle," where worshippers of Afro-Cuban divinities engage in religious rituals. Therefore, it is possible that the title "The Jungle" not only alludes to a site of ignominy and debasement but also to a place where Santeria was practiced by its adherents. Additionally, Barnitz observes that Lam employed a mulata prostitute as a symbol for Cuba's decadence. Thus, when Lam depicts the woman on the right...

In "The Jungle," the artist intended to address Cuba's issue with prostitution by depicting a figure presenting its rear end in a vulgar way. The figure is wearing an African mask, indicating that prostitution is prevalent among the Black community. Additionally, a pair of scissors held by a hand extending from the background foliage is prominently featured in the top right corner of the image as another symbol.

The scissors are positioned

for cutting and are highlighted by a reddish orange scheme at the bottom of the right side, drawing the viewer's attention to them. In "The Jungle," the presence of these scissors symbolizes the state in which African Americans found themselves in, trapped in a socially and culturally backward environment. The scissors serve as a representation for their desire to break free from this primitive lifestyle.

The scissors' position when open and ready conveys a feeling of desperation, as if they are willing to try anything to escape. This impression is intensified by the backdrop of a dense thicket of sugarcane, which evokes the emotions of servitude and helplessness. Lam's overall message is encapsulated by his statement, "Look, too, at the scissors in the upper right-hand corner."

My goal was to depict the essence of the black community in their current circumstances through poetry that conveys both acceptance and resistance. Lam is explicit in his intention to raise awareness of the social adversity that black Cubans face. It is noteworthy that Lam's work "The Jungle" bears resemblance to Picasso's "Les Demoiselles d'Avignon," which portrays five figures in a cramped space, with three adorned with African masks.

It is clear to see the resemblance to "The Jungle" when considering the vertical placement of the women in Picasso's work. The confined space they occupy creates a sense of discomfort and repulsion. This similarity in their art is unsurprising given the close friendship between Picasso and Lam during their time in France. A detailed analysis of "The Jungle" reveals its intended meaning: Wifredo Lam was seeking to draw attention to the poor living conditions endured by black individuals and convey this

message to the wider world.

In his artwork, Lam employs surrealist techniques to explore the hidden depths of our subconscious thoughts and emotions. Through the use of African masks, he makes a deliberate association with the black population he is highlighting, and incorporates Santeria references. Additionally, the image of scissors is used to convey a sense of desperation and turmoil from within the black community. The inclusion of drastically disproportionate bodies further emphasizes the issue of prostitution in Cuba. Through these various elements, Lam successfully conveys his perspective on his homeland. It was the strikingly vibrant colors and unique style that initially drew me to this piece.

Just like admiring a beautiful woman, my fascination with "The Jungle" was purely aesthetic. However, this artwork captures more than just attention with its visual appeal. It also sends a strong and resolute message about the unjust social inequality faced by black Cubans. It cleverly utilizes our subconscious associations with African masks, scissors, and distorted body parts to convey its message. Overall, "The Jungle" is a powerful work of art that leaves a lasting impression on its viewers.