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Carlos Enríquez (August 3, 1900 - May 2, 1957), was a Cuban painter, illustrator and writer of the ''Vanguardia'' movement (the Cuban Avant-garde). Along with Víctor Manuel, Amelia Peláez, Fidelio Ponce and Antonio Gattorno, and other masters of this period, he was involved in one of the most fertile moments in Cuban culture. He is considered by critics to be one of the best, and most original, Cuban artists of the 20th century. Carlos Enríquez strived to develop a genuinely Cuban style that, while fueled by surrealism and modernism, took inspiration from Cuba's landscapes, culture, social problems and way of living. He was also considered a rebel, and was often criticized for the allegedly explicit nature of his nudes, and for his bohemian lifestyle. ==Early years== Born in Zulueta, in the former Cuban province of ''Las Villas'', on August 3, 1900 to a wealthy Cuban family, Carlos Enríquez received little academic training, so his art is considered to be largely autodidact. At a young age he transferred to Havana to complete his bachelor studies, and in 1920 his parents sent him to Philadelphia, where he studied Commerce until 1924. At his insistence, he was permitted to study Painting at the Pennsylvania Academy, where he took a short summer course. Due to differences with his professors, he never finished the course, which were the only painting studies he ever took. He returned home the following year, with fellow painter Alice Neel whom he married that year. Soon after his return, he started painting professionally, while working as an accountant at the ''Lonja del Comercio'' (Havana's Stock Exchange). In 1925 he participated in his first exposition, and in 1927 two of his nudes were retired from the ''Exposition of New Arts'' of Havana after being considered "exaggeratedly realistic". 1927, however, marks the year when the Cuban ''Vanguardia'' movement made its first steps, mainly thanks to this exposition, and the artists that participated in it would later become the higher exponents of the movement. The episode convinced Enríquez to return to the United States. After breaking up with Alice Neel, he returned to Cuba in 1930 with their daughter Isabetta. That same year, another of his expositions is aborted due to the allegedly explicit content of his paintings. He again left Cuba, this time for Europe, mainly Spain and France, where he continued his painting career and got in touch with Impressionism and surrealism, currents that will radically influence his work. Some of his best works were produced in this period: ''Bacteriological Spring'' and ''Virgen del Cobre'' (which is the patron saint of Cuba). He returned to Cuba in 1934, and started a new pictorial style, which would become his trademark. He named it ''Romancero Guajiro'' (countryman's romance), a modernist approach to the stories and colors of the Cuban countryside. Like the case of the other vanguardia artists, the reencounter with his native land provided the catalyst for his mature style and his commitment to express Cuban realities and myths. The subjects were often inspired by popular myths and social realities. One of his preoccupations as an artist concerned the expression of an authentic Cuban-Caribbean culture, which he believed was only to be found in the countryside, in its Creole people, myths, and legends. His interest in the representation of the life outside Havana was also motivated by his belief that the real Cuba lay outside the capital. Enríquez's Romancero Guajiro was strongly influenced by some of the core ideas of modernist primitivism. His primitivism, however differs from that of Antonio Gattorno and Eduardo Abela in that it does not represent the guajiros as simple, calm, and noble, but as raw, violent, and restless. His painting ''Rey de los Campos de Cuba'' (King of the Cuban Fields) received first prize in 1935's ''National Exposition of Painters and Sculptors''. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Carlos Enríquez Gómez」の詳細全文を読む スポンサード リンク
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