The first appraisal
The US Company Ruby Lane Inc has published the first appraisal of one of my artworks (http://www.rubylane.com/item/640647-OSP-0081/Superb-oil-canvas-Cuban-artist-Fidel). The painting “Bohio virgen” has been valued at 2 000 USD, according to the company’s staff. The appraisal was probably based on my recent record of exhibitions and publications. Previously, a wrong valuation had been published by other company based in FL, but, obviously, this time, appraisers at Ruby Lane had the opportunity to study my Catalogue Raisonnée. The auction date for this painting has been set by November 4th, 2015.
This year, I showed six oil on canvas in exhibition at the Mexican Gallery “Galería Arte XXI”. I also published a peer-reviewed article (J Mass Communication & Journalism 2015, 5: 251), and a second article dealing with my career has been accepted for publication (Art Documentation 2015, 34 (2): in press). Finally, another argument in favor of this rational valuation is that my landscape paintings has been sold over 4 000 USD per square meter from 2006 at Jorge M Sori Fine Art
I have concluded that Ruby Lane Inc owns a highly qualified staff, taking into account their extensive experience. This is a company founded in 1998 by Tom Johnson, a professional graduated with top honors from the University of Minnesota, and relevant results working at IBM. According to the company “Many members of the Ruby Lane’s staff, including its Customer Support team, are artists or collectors themselves and currently, or have previously maintained shops on Ruby
Lane. This allows them to understand the many needs of both buyers and sellers, as well as the unique categories of items being sold”.
Group Exhibition of Cuban Landscape Paintings at Galería Arte XXII
The exhibition entitled "Asere que volá" will be on display from June 4, 7:00 PM, at Galería Arte XXI in Mexico City (Horacio No. 907, Colonia Polanco Chapultepec, entre Alejandro Dumas y Alfredo Musset, frente al Parque Las Américas, Código Postal 11550, México D.F). Artworks painted by Fidel Micó, Dionel Delgado, Ernesto Estevez, Jorge Antonio Sixto, Pedro Pablo Domínquez, René Luis Pons, Victor Reyes Rosabal, and Yendri Salazar Falcón will be shown in a space well-known as exclusive, inviting, playful and seductive. This gallery use to show a wide variety of works, spanning from Figurative art to innovative pieces or abstract art, engravings, and sculptures to heartfelt bonds between art, the artist, and the public, both domestically and internationally. Its leading personality is an extraordinary human: the Mexican artist Malke Tapuach. Malke Tapuach's trajectory in the world of art is an impressive one. Her dedication and profound passion for this activity have conferred her great prestige and reliability in Mexico and abroad. Due to her notable trajectory, in 2011 she lived another exciting experience which very well may be one of the most important in her life: to lead her very own Galería Arte XXI, in which she reinvents and creates a different concept, with a vision for the future and a fresh attitude; open to new proposals and a varied catalog of works, very attractive both to experienced collectors and to novel public, but sensitive and willful in its desire to come close to quality works. This time, she invite us to appreciate a forgoten genre: landscape painting. A small group of Cuban artists will show their last works to open the pathway for a future massive presence of this genre in the artworld.
Catalogue Raisonné: a research project for understanding art
Written by the researcher in charge of the project “The Fidel Micó Catalogue Raisonné” (FMCR) as member of the Catalogue Raisonné Scholars Association.
Fidel Micó’s style has been always evolving. If several paintings from the same year are compared, we can find a continue experimentation on composition issues. The apparently simple landscapes Al cantío de un gallo, Amanecer en la sierra, and Camino a la laguna, painted in 2000, show his ability to change the position of a single tree and a few palms with different intentions. However, at present, he is more interested on using his pictorial mastery for representing universal, civilizing, and educative messages as his contribution for humankind improvement. He has been collecting opinions on his paintings El poder de la naturaleza, and Otra oportunidad before starting his next conceptual paintings.
The paintings La Maja del Río, La roca del diablo, and Festín de gaviotas demonstrate that a human, a rock, and a few birds can be principal elements of landscapes under different chromatic schemes, at least, in middle ground and foreground. Concerning to techniques, we must confess that nothing compares with a day observing him at the studio. Certainly, Micó was born for painting, and we have not been able to decode his method, maybe because he never makes sketches, calculations or action plans. He just starts working “a la prima”, like an impressionist, but painting with realism and authenticity. He painted an undetermined amount of murals when he was serving in the army (1980 – 1983), and during the 90s, that could deserve further study.
This project has been opened to explore the artist’s work in the last 40 years. The project began 3 years ago from interviews at the artist studio. Although best known (but, little noted) as a landscape painter, Micó has also worked on genres combinations, and figurative. The FMCR will comprise his entire body of works created from 1972 to 2014, including an undetermined amount of oil on canvases that could be higher than 2000. New information will be added every year until research is complete (expected 2020). The first edition has been published available for free download at the website The Art Room Telford (http://www.theartroomtelford.co.uk/downloads/part1fidelmico.pdf) including results from 2000 to 2014, leaving three decades uncatalogued. This preliminary publication may encourage owners of Micó’s artworks to supply information and images to the project for further research that could be mostly focused on collectors and galleries from Cuba, USA, Mexico, and Spain. We are lucky to have the artist’s record and his better memory to add depth and context to our daily research. Our current tangible assets are a few printed publications in Art Nexus, and Art Circuit Newsletters, more than 7 600 web pages, advertising of exhibitions, and the Micó’s family involvement, but the project has not even received support from dealers, collectors and galleries.
This project has been intended to improve the public understanding of the Micó’s work. We start to understand the importance of a permanent and comfortable studio when we know on his frequent changes of address, and dimensions of his current painting room (2.0 x 2.0 x 2.4 m). His spontaneous development from 10 years old, without any advice and formal training and his devotion for teaching many young artists without asking anything in exchange afford relevant insights into how Micó’s living and work continue to resonate within the contemporary art. We hope that the FMCR shows a good sense of how Micó’s method and practice has been throughout his lifetime working in different formats, and genre’s combinations, ranging from landscape to figurative. The FMCR has been written in a way that shows what he was working on each year alongside what he was showing in exhibitions. The book has been divided in five simple chapters (Project profile, biography, chronology, Catalogue Raisonné, and Annex) to facilitate a comprehensive approach to the artist’s career.
| Book on the matrix of the art worldShowing unconditional compromise, as champions of the recognition of contemporary artists as essential components of the society, these Cuban intellectuals have used their creative freedom for drawing the attention of decision makers of the art world on the relevance of protecting artists from noxious forces that restrict the beneficial impact of a
| Publication of peer-review paperThe prestigious academic journal Art Documentation has published a 5 pages article dealing with my career. The paper, entitled “Catalogue Raisonné of the Work of Fidel Micó: A Case Study” (Art Documentation 34, no. 2, 2015, p. 349-353, http://www.jstor.org/stable/10.1086/683379), describes the methodology used by the independent scholar José A. Bux
| Warning to collectors, galleries, and auction housesA few months ago, I started to receive a significant amount of phone calls asking me for authenticity of my artworks. In most cases, the pieces were never painted by me, but all they had been sold as mine. I mean, approximate imitations of my signature were included in an undetermined amount of paintings, and were sold to private collectors. The fo
| The pleasures of authenticationYesterday, I was surprized by an almost imperceptible press release, among hundreds of thousands that usually populate the information world, although decorated with the most subtle asymmetry. Times when I felt that I had been born just to enjoy the most luxurious pleasures of aesthetics, to become into artworks all that I couldn´t sing nor to writ
| Crossing the old paradox This real story crosses the interface between parallel universes of the human creation. Havana’s Sunday use to be a quiet day when people visit friends, family, and spiritual leaders of our more than 400 religions. Last Sunday was different for me, because a scientist had told me, a day before, that I had lost my time reading critical assessments o
Fidel Micó is a Cuban painter born in Havana, Cuba in 1962. He received formal training at the prestigious Academy of Art "San Alejandro". This artist has created more than 2000 landscape paintings between 1980 and 2013, but none of them has been submitted for auction, because collectors and galleries from Cuba, USA, Qatar, Spain, Germany, Italy, Canada, China, Mexico and El Salvador have preferred keeping Micó’s artworks as highly profitable investments. His life and working style is much more spiritual, intuitive and sensorial than analytic. Summarizing the central idea of Micó’s artwork in a single statement is challenging even for those who know him, but a systematic analysis of his life reveals critical insights. A solid description of his philosophical thinking, and an intuitive perception of the energy surrounding him may be drawn. Micó’s isolation from a slavery imposed by a low capacity to interact with space and time does not come from altered state of mind, but from a real capacity to feel himself out of the known universe when he is painting. Immunity to environmental perturbations keeps him painting in his mind and oils while attending a phone call, loving his wife, walking, drinking “guarapo” (sugar cane juice) or thinking on his daughter’s projects. Cuban landscapists usually refer to his artwork as a distinguishable style by saying “…this is a Micó…”, whilst opening their eyes as if he were an actual milestone to reach in the future. Actually, Fidel’s contemporaries understand him very well although they have not found the source of much acknowledgement to his life, because he has not obtained the world recognition that deserves. The source is inside, and months of constant analysis are necessary to obtain an intuitive idea of his past evolution whilst he was developing a personal style. Images of his oil on canvas and additional information can be found the British website "The Art Room".
Garcés Morales, New Jersey, USA, 1 work.
Galería Arte XXI, Mexico City, México, 4 works.
Duncan Forbes’s collection, The Netherlands, 2 work.
Armando Dayan’s collection, Canada, 1 work.
Galería Cubarte, Santiagode Chile, Chile, 6 works.
Jorge M Sorí Fine Art, Miami, FL, USA, 2 works.
Cuba! Gallery of Fine Cuban Art, Melbourne, FL, 1 work.
Tony Piñera’s collection, Havana, Cuba, 1 work.
The Collection of the Artist, Havana, Cuba, 2 works.
Evora’s collection, Mexico City, Mexico, 1 work.
Cuauhtémoc’s collection, Mexico City, Mexico, 1 work.
Private collectors from Cuba, USA, Qatar, Spain, Germany, Italy, Canada, China, Mexico, and El Salvador, unknown amount of works.
1. Octavio Borges Pérez. “Un estado permanente de agitación”. Granma (the most important Cuban newspaper), November 22nd, 1985.
2. Entornos. La Habana: Hotel Parque Central, April 29th - June 29th, 2003. Exhibition catalogue. Preface by José A. González andCary Jiménez.
3. Primer Salón de Paisajes Víctor Manuel.La Habana: Convento San Francisco de Asís, February 2003. Exhibition catalogue. Preface by Jorge R. Bermúdez.
4. Segundo Salón de Paisajes Víctor Manuel.La Habana: Convento San Francisco de Asís, April 2005. Exhibition catalogue. Preface by Concepción Otero Naranjoez.
5. Artbo 2005. Bogotá: Cámara de Comercio de Bogotá. Exhibition catalogue, p. 62.
6. Sori J. M. Transpiración. Art Nexus. Vol. 5, Nº 61, 2006, reproduced in page 99.
7. Sori J. M. El salto. Art Nexus. Vol. 5, Nº 63, 2007, reproduced in page 43.
8. Angela Capote. Enfoques del Paisaje. Tribuna de la Habana, July 13th, 2008.
9. Cada quien con su paisaje.La Habana: GaleríaLa Acacia, May-July 2008, Exhibition catalogue. Preface by Tony Piñera.
10. Galería La Acacia. What’s on? Cuban Absolutely, July 2008, page 7.
11. Sori J. M. Five Contemporary Latin American Artists. MiamiArt Guide, September 16th, 2008.
12. Sori J. M. Renowned Latin American Artists. Art Circuits Newsletters. Vol. 2, Nº 13, November 2008, p. 3.
13. James Echols. Coral Gables Gallery Night Friday. Renowned Latin American Artists. Examiner, December 31st, 2008.
14. Cuban Visions"'........