José Joaquin Tejada (1867-1934) was born in Santiago de Cuba

José Joaquin Tejada (1867-1934) was born in Santiago de Cuba in the Oriente province, where he created most of his work and also died. As a young man, his studies were made possible by a scholarship from his native city’s government, which permitted him to visit museums in Spain, Italy, France, and Holland.

Upon returning to Cuba he visited New York, where he exhibited works in 1894. There he established a friendship with José Martí, who praised his talent with a favorable review entitled A Cuban Landscape Painter. Martí exalted Tejada by asserting, “In him we find- humanitarian and robust- the new Cuban painter. And from this day forth we can say: his name shall be glory.”

Tejada served as both Professor and Director of the Municipal Academy of Fine Arts in Santiago de Cuba. He also acted as President of the Artistic Association of Oriente. His works were included in the important exhibit Colonial Painting in Cuba at Havana’s National Capitol Building from March to April of 1950, where five of his oils were presented. Tejada’s most acclaimed painting, La Lista de la Loteria (The Lottery List) is permanently exhibited at the National Museum of Fine Arts in Havana. Other works can be found at the Museo Bacardí in Oriente, Cuba, and at the Museum of Arts and Sciences in Daytona Beach, Florida.

In his title Notes On Painting and Print in Cuba, the art historian Jorge Rigol declared of this distinguished painter: “José Joaquín Tejada forms, with his cousin Guillermo Collazo and Federico Martínez, the triad of great painters from Santiago de Cuba. And, with Leopoldo Romañach and Armando Menocal, that of turn of the century landscape artists from the first republican decades."

Ramón Cernuda

Antonio Ferrer Cabello was a multi-talented artist, proficient in various mediums such as painting, drawing, watercolors, pastels, and engravings. His artistic explorations spanned a vast range of themes, experimenting with different techniques to create unique and insightful pieces. However, it was his portraiture and urban landscapes that truly stood out, showcasing his technical mastery, strong, precise stroke, and rich chromaticity. His portraits were particularly impressive, with each brushstroke carefully placed to capture the subject's psychology, achieving a tropical luminosity that highlighted the softness of their skin. Notable pieces, such as Facundo and Lincoln, demonstrated his use of chiaroscuro, with each stroke strategically placed to achieve the perfect balance of light and shadow. Despite his undeniable talent and mastery of techniques, Ferrer's training and isolation in Santiago de Cuba meant that he did not have the same exposure to new trends in art as artists in larger cities. However, he brought avant-garde art to his city and actively promoted experimentation and new trends through the journal Galería. In the 1960s, Ferrer shifted his focus to musicians and landscapes, displaying a more fluid and luminous style in his backgrounds and ambiance. His urban landscapes, such as the Tivolí series, were particularly breathtaking, capturing the vibrant colors of the houses under the Santiago sun. Ferrer's work was not just beautiful, but full of life, showcasing the hustle and bustle of city life and the refreshing relief of shaded areas. His contributions to art and culture in Cuba earned him 14 medals, and his legacy has left an indelible mark on the art world. Overall, Ferrer's work is a testament to his talent, technical mastery, and dedication to capturing the beauty of the world around him. Antonio Ferrer Cabello fue un artista de múltiples talentos, diestro en varios medios como la pintura, el dibujo, las acuarelas, los pasteles y las grabaciones. Sus exploraciones artísticas abarcaron una vasta gama de temas, experimentando con diferentes técnicas para crear piezas únicas e introspectivas. Sin embargo, fueron sus retratos y paisajes urbanos los que realmente destacaron, mostrando su dominio técnico, su trazo fuerte y preciso, y su rica cromaticidad. Sus retratos fueron particularmente impresionantes, con cada pincelada cuidadosamente colocada para capturar la psicología del sujeto, logrando una luminosidad tropical que resaltaba la suavidad de su piel. Piezas notables, como Facundo y Lincoln, demostraron su uso del claroscuro, con cada trazo estratégicamente ubicado para lograr el equilibrio perfecto entre la luz y la sombra. A pesar de su indudable talento y dominio de las técnicas, la formación y el aislamiento de Ferrer en Santiago de Cuba significaron que no tuvo la misma exposición a las nuevas tendencias en el arte que los artistas en ciudades más grandes. Sin embargo, él llevó el arte de vanguardia a su ciudad y promovió activamente la experimentación y las nuevas tendencias a través de la revista Galería. En la década de 1960, Ferrer cambió su enfoque hacia los músicos y los paisajes, mostrando un estilo más fluido y luminoso en sus fondos y ambientes. Sus paisajes urbanos, como la serie Tivolí, fueron particularmente impresionantes, capturando los colores vibrantes de las casas bajo el sol de Santiago. El trabajo de Ferrer no solo fue hermoso, sino lleno de vida, mostrando el ajetreo y el bullicio de la vida urbana y el alivio refrescante de las áreas sombreadas. Sus contribuciones al arte y la cultura en Cuba le valieron 14 medallas, y su legado dejó una marca indeleble en el mundo del arte. En general, el trabajo de Ferrer es un testimonio de su talento, dominio técnico y dedicación para capturar la belleza del mundo que lo rodea.