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Emilio Sanchez (artist)
Emilio Sanchez (1921-1999) was a Cuban-born American artist known for his architectural paintings and graphic lithographs. His work is found in the permanent collections of the Metropolitan Museum of Art (New York NY), Museum of Modern Art (New York NY), National Gallery of Art (Washington DC), Smithsonian American Art Museum (Washington DC), Museo Nacional de Bellas Artes (Havana, Cuba), Museo de Arte Moderno Bogotá (Bogotá, Colombia), La Tertulia Museum (Cali, Colombia), and the National Gallery of Australia (Canberra, Australia).〔"Emilio Sanchez Biography ." ''AskART''. (Web. )〕
A representational artist with a modernist and at times abstract approach,〔 Sanchez emphasized "pattern, color and strong lighting contrasts".〔 By 1970 architectural themes, from detailed stained glass windows to abstracted storefronts or city skylines, dominated his oeuvre. Carol Damian of the Frost Art Museum (Miami FL) described his work as studies in "horizontals and verticals, bold stripes of color, and the ever-present shadows, especially diagonal shadows that he so favored, with darks and lights in repetition."〔Damian, Carol. "Emilio Sanchez." ''Vie des Arts'' 53.215 (2009) Print. (Web. )〕 For her, Sanchez's work was "not a picture of something, but the application of pigment onto a flat surface to become a singular object to its own definition."〔
== Early life ==
Emilio Sánchez Fonts was born in Camagüey, Cuba, in 1921 to Estrella Fonts and Emilio Sánchez.〔Angeline, John; Bleys, Rudi C.; and DiazCasas, Rafael. ''Hard Light: The Work of Emilio Sanchez''. Ed. Ann Koll. New York: Prestel Publishing, 2011. 182. Print.〕 The grandson of sugar entrepreneur Bernabé Sánchez Adan and a member of one of Cuba's oldest and wealthiest families, Sanchez's early life was one of privilege.〔Angeline, John; Bleys, Rudi C.; and DiazCasas, Rafael. ''Hard Light: The Work of Emilio Sanchez''. Ed. Ann Koll. New York: Prestel Publishing, 2011. 8. Print.〕 As a child he was tutored at home on his father's sugar plantation in central Cuba where he was encouraged to draw by his grandmother.〔 He traveled extensively throughout Europe and North and South America and as a youth attended the American boarding schools Ransom Everglades School, Fessenden School and, from 1935–39, Choate Rosemary Hall.〔Angeline, John; Bleys, Rudi C.; and DiazCasas, Rafael. ''Hard Light: The Work of Emilio Sanchez''. Ed. Ann Koll. New York: Prestel Publishing, 2011. 28. Print.〕 After his parents divorced, his mother married Peruvian artist Felipe Cossío del Pomar in 1938 and moved to San Miguel de Allende, Mexico.〔Angeline, John; Bleys, Rudi C.; and DiazCasas, Rafael. ''Hard Light: The Work of Emilio Sanchez''. Ed. Ann Koll. New York: Prestel Publishing, 2011. 10. Print.〕 Sanchez then divided his time between Mexico, his father's Cuban estate, and American schools. He attended Yale University and, from 1941-1943, the University of Virginia.〔"Emilio Sanchez Foundation: Progress Report April 2012." ''Emilio Sanchez Foundation''. ()〕
Encouraged to pursue art by Cossío del Pomar, in 1944 Sanchez moved to New York City to attend the Art Students League.〔"Sanchez-Biography." ''Emilio Sanchez Foundation'' (Web. )〕 Later he attended Columbia University School of the Arts where he studied watercolor painting under Dong Kingman.〔Angeline, John; Bleys, Rudi C.; and DiazCasas, Rafael. ''Hard Light: The Work of Emilio Sanchez''. Ed. Ann Koll. New York: Prestel Publishing, 2011. 29. Print.〕 During the late 1940s, he developed an interest in Mexican colonial architecture as well as Pre-Columbian Art and illustrated two books on Peruvian Art written by Cossío del Pomar.〔 In 1949 his first solo exhibition, held at Joseph Luyber Gallery (New York NY), was followed by solo exhibitions in 1951 at Ferargil Gallery in New York and Ateneo Español in Mexico City.〔"Sanchez-Exhibitions." ''Emilio Sanchez Foundation''. (Web. )〕 Although he moved permanently to New York City in 1952, Sanchez continued to visit the Caribbean,〔 where he often photographed scenes as references for his art. In the mid-1950s he experimented with lithographic techniques such as woodcut and aquatint.
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