Femme Cheval; Wildredo Lam |
by Steve Light
Wilfredo
Lam, one of the most inspired painters of our 20th Century modernity, was and
remains a quintessential representative of an intercultural and polycultural creation
in the best sense of the words. Born in Cuba in l902 to a Chinese immigrant
father and an Afro-Cuban mother of Congolese descent, Lam first studied in art
schools in Cuba before leaving to Spain for further study. He stayed in Spain for
15 years. A partisan of the Republic, he fought with valor during the Civil War
(twice being incapacitated by wounds) and in this was part of a broad
anti-fascist and Pan-African group of volunteers. Lam from his earliest days was
a proponent of anti-colonialism and of the global Black Liberation Movement—a movement born from
places as various as Cuba, Ethiopia, Canada, Uganda, etc. and which also
included over 100 African-Americans, men and women who in so many instances
gave their lives in a fight for autonomous freedom, men and women whose stories—"proud banners of death/ I see
them waving/ there against the sky,/ struck deep in Spanish earth/ where your
dark bodies lie..."(Langston Hughes)—have been largely overlooked by
history.
Finally Lam was forced into exile in
France as the fall of Barcelona became imminent in l938. In Paris he met
Picasso. He also met Breton and other Surrealists, soon becoming part of the
Surrealist movement. Picasso and Breton's enthusiasm helped to make his work
better known. But no sooner had he begun to settle into a new life, then the
French army was completely routed in the spring and early summer of l940. Along
with Breton and many others, Lam found himself a refugee in Marseilles hoping
to find passage out of France and back to Cuba. Here Breton asked him to
contribute the illustrations for a volume of poetry which Breton was going to
have published illegally in Marseilles (Lam's illustrations would also accompany
the 1940 first edition of Aimé Cesaire's Cahier
d'un retour au pays natal). Breton’s work, Fata Morgana, with Lam's illustrations, was seized by the Vichy
government and destroyed. Only five copies survived. However, certain of Lam's
works on paper from the late l930s and from his working days in Marseilles have
been located. It is a wonderful opportunity to view the drawings Lam made for
Breton's book because we can see the makings of that artistic language which
Lam in his enthralling and exuberant sensibility would use in the creation of
what could be called a Caribbean form of Surrealism and Modernism. In these
drawings we can find, as the art-historian Catherine David has also written,
"certain elements of the iconography of the great paintings to come."
As Helena Holzer, Lam's wife at the time, sat and translated Breton's poem, Lam
in Holzer's words, "worked with a steady rhythm...his easy and precise
lineation was elegant and sure, resting the pen only to pick up more
ink..."
At the center of invention in these
drawings is the Femme Cheval. And
this personage finds herself shaped and reshaped constantly into all sorts of
figures both "fantastic and familiar". Human, animal, and vegetable
forms collide in these drawings which range from the seemingly grotesque to the
most tender and elegiac sweetness to the openly sensuous and erotic. Here we
find the Femme Cheval cradling birds
and sky and there we find her transformed into an enigmatic bird-like figure
cradling fish and flowers. Now the figure is serenely meditative, all eyes and
eyelashes. Now she is revealed in all her splendid voluptuousness, arms akimbo and caressing. Here her long hair
tumbles across her magnificent breasts. There she cradles her arms across
herself as if holding a sea and all of its stars.
But beyond both the perceptual discoveries
and delights which these drawings give us at every moment and the historical
specification which these drawings provide, namely that the discovery of Lam's
drawings in Marseilles and even before that in Paris and in Madrid show that
his signature imagery, thought to have begun only upon his return to Cuba in
l941, was already in development. These Marseilles drawings reaffirm once more
the grace and spontaneity, the rhapsodic verve and vivacity of Lam's dynamic
line and his profound sounding of our torn and tumultuous modernity.
Exhibitions of these drawings have also
included poster-size blow-ups of a number of photographs of Lam. In one we see
him with Pierre Mabille and Andre Breton. In another we find him with Picasso. We
see him surrounded by paintings in his studio in Paris and then in his studio
in Cuba. We see him with his wife, Helena Holzer, accompanied by Oscar
Dominguez, Breton, and Breton's young daughter, Aube. Yes, dawn! And as
Vladimir Jankelevitch, another courageous combatant against fascism, wrote in a
little volume on Chopin published clandestinely during the war, yes! that
"the dark night of our distress might become the nocturne of our hope and
the certainty of our dawn!"
We see a wonderful photo of Lam in 1946 in
New York seated at a small cafe table with Arshile Gorky. Lam looks out at the
photographer while Gorky gazes across Lam towards the unseen corner of the
room. It is the perfect arrangement. Because here we find two of the most
lyrically intelligent poets of our painterly modernity, whose legacy, gifts,
and painterly vehemence have been taken up in our own time by the supreme and
sparkling talents that are Naoko Haruta and Alan Silver. And it is the perfect
sign for these Marseilles drawings which speak to us in such a moving and
beneficent way of that kind of genuine fidelity to the best portions of the
mind and heart to which Lam and others gave themselves in a terrible moment,
there as they were, pushed to the edge, from which, happily, on the same boat,
Lam, Breton, Levi-Strauss, among others, were able to escape, as, unhappily and
so very grievously, so many others were not…
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