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Article

Giulio V. Blanc

revised by Ingrid Eliott

(b Yaguajuay, nr. Placetas, Jan 5, 1896; d Havana, Apr 8, 1968).

Cuban painter, ceramicist, and illustrator. Peláez studied under Leopoldo Romañach (1862–1951) at the Academia de San Alejandro in Havana, where she became interested in Impressionism. She graduated in 1924 and lived in Paris from 1927 to 1933, studying at the Académie de la Grande Chaumière, the Ecole Nationale Supérieure des Beaux-Arts, and the Ecole du Louvre. She also studied composition and color, as well as manuscript illustration, with the Russian Constructivist and stage designer Alexandra Exter. While in Paris, Peláez held an individual exhibition at the Galerie Zak in Paris in 1933 and in 1934 returned to Cuba. During these years Peláez illustrated various literary manuscripts, including Léon-Paul Fargue’s Sept poèmes (1933; unpubd.), Luis Amado Blanco’s Poema desesperado (1937), and her uncle Julián del Casal’s La agonía de Petronio (1937, unpubd.). Peláez is celebrated in Cuba and in the world of Latin American art for the stylistically innovative still lifes set in Spanish colonial domestic interiors that she developed in Havana during the 1930s and 1940s. During the 1950s, Peláez was a pioneering ceramicist in Cuba (...

Article

Roberto Pontual

revised by Alana Hernandez

(d’Angelo)

(b Salerno, Jul 30, 1866; d Rio de Janeiro, Oct 15, 1944).

Brazilian painter and decorative artist of Italian birth. He was taken as an infant from Italy to Rio de Janeiro. In 1884 he began studying in Rio de Janeiro at the Academia Imperial das Belas Artes and the Liceu Imperial de Artes e Ofícios under Victor Meirelles de Lima, Henrique Bernardelli (1837–1946), and Rodolfo Amoedo (1857–1941). He was active in efforts to eliminate the academy’s rigid academic discipline. He went to Paris in 1892 and attended the Ecole des Beaux-Arts and the Ecole des Arts Décoratifs, where he was taught by Eugène-Samuel Grasset. At the 1900 Exposition Universelle in Paris, Visconti won a silver medal for the paintings Youth (1898) and Dance of the Wood Nymphs (1899; both Rio de Janeiro, Mus. N. B.A.). Following the Pre-Raphaelites, his main influences were Botticelli and other painters of the Italian Renaissance, but he was also influenced by Grasset and Art Nouveau. On his return to Brazil, his florid style began to give way to Impressionism in the stage curtain, circular ceiling panel, and proscenium frieze he executed for the Rio de Janeiro Teatro Municipal (...