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IMMIGRATION TO CUBA. The Blue Painting

Yurii Yermolenko

Ukraine

Painting, Acrylic on Soft (Yarn, Cotton, Fabric)

Size: 629.9 W x 57.1 H x 1.2 D in

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About The Artwork

Yury Ermolenko, "IMMIGRATION TO CUBA. The Blue", (From the "IMMIGRATION TO CUBA" project, 2012, acrylic on cotton fabric, 4 meta-paintings: "The White", "The Red", "The Green", "The Blue", 145x1600 cm. long each) The Malecón (officially Avenida de Maceo) is a broad esplanade, roadway and seawall which stretches for 8 km (5 miles) along the coast in Havana, Cuba, from the mouth of Havana Harbor in Old Havana, along the north side of the Centro Habana neighborhood, ending in the Vedado neighborhood. New businesses are appearing on the esplanade due to economic reforms in Cuba that now allow Cubans to own private businesses. Construction of the Malecón began in 1901, during temporary U.S. military rule. The main purpose of building the Malecón was to protect Havana from the sea and the so-called American Nortes. To celebrate the construction of the first 500m section of the Malecón, the American government built a roundabout at the intersection of Paseo del Prado, which, according to architects of the period, was the first one built in Cuba with steel-reinforced concrete. In front of the roundabout, where every Sunday bands played Cuban melodies, the Miramar Hotel was built, which was very much in fashion for the first 15 years of independence and which was the first one where the waiters wore tuxedos (dinner jackets) and vests (waistcoats) with gold buttons. Subsequent Cuban governments continued the extension of the first section of the Malecón. In 1923 it reached the mouth of the Almendares River between K and L streets in Vedado, where the United States Embassy was built, the José Martí Sports Park and further out, the Hotel Rosita de Hornedo, today, the Sierra Maestra. In 1957 and 1958, the roadway served as the venue of the Cuban Grand Prix. The Malecón continues to be popular among Cubans, especially among those of lesser means whose other means of entertainment are limited. It is also a means of income for poorer families, as individual fishermen cast their lures there. In addition, it is a hotspot for love in Cuba by men and women. There are a number of important monuments along the Malecón, including those to General Máximo Gomez, Antonio Maceo, General Calixto García, and the Monument to the Victims of the USS Maine. At the intersection of 23rd Street, the Malecón marks the northeast end of the "La Rampa" section of 23rd Street, Vedado, and is very active at night. Pals lapels,als In the Plaza de la Dignidad is a statue of José Martí and in front of the Embassy of the United States, the José Martí Anti-Imperialist Platform. Significant buildings include the Castillo de la Real Fuerza, the Castillo de San Salvador de la Punta, the Torreón de San Lázaro, and the Hotel Nacional. The Hotel Nacional de Cuba is a historic hotel located on the Malecón in the middle of Vedado, Havana, Cuba. It stands on Taganana Hill a few metres from the sea, and offers a view of Havana Harbor, the seawall and the city. The hotel was developed by the US firm of Purdy and Henderson, financed by the National City Bank of New York and designed by the New York architectural firm of McKim, Mead and White in a mix of styles including Sevillian, Roman, Moorish and Art Deco. The hotel was constructed in just fourteen months on the site of the Santa Clara Battery, which dates back to 1797. Part of the battery has been preserved in the hotel's gardens, including two large coastal guns dating from the late 19th Century. The hotel opened as The National Hotel of Cuba on December 30, 1930, operated by the American managers of the Plaza Hotel, Savoy-Plaza Hotel and Copley Plaza Hotel, at a time Cuba was a prime travel destination for Americans. In 1933, after Fulgencio Batista's 4 September 1933 coup against the transitional government, it was the residence of Sumner Welles, a special envoy sent by U. S. President Franklin D. Roosevelt to mediate the crisis, and was the site of a bloody siege that pitted the officers of the Cuban army, who had been instrumental in the overthrow of Gerardo Machado (August 12. 1933), against the non-commissioned officers and other ranks of the Cuban army, who supported Batista. Their eventual assault on the hotel, on October 2, 1933, caused extensive damage to the building, including shell and bullet holes, and would become known as the Battle of the Hotel Nacional of Cuba. Chicago developer Arnold Kirkeby acquired the hotel in the early 1940s and operated it for over a decade as part of his Kirkeby Hotels chain. In December 1946 the hotel hosted the Havana Conference, an infamous mob summit run by Lucky Luciano and Meyer Lansky and attended by Santo Trafficante, Jr., Frank Costello, Albert Anastasia, Vito Genovese and many others. Francis Ford Coppola memorably dramatised the conference in his film The Godfather Part II. In the mid-1950s, Kirkeby Hotels sold the Nacional to New York developer William Zeckendorf. By 1955, Lansky had managed to persuade Batista to give him a share of the Nacional. That same year Pan Am's Intercontinental Hotels Corporation bought the hotel from Zeckendorf. Alphons Landa, prominent Washington attorney represented Pan Am and arranged for other clients and friends to acquire shares in the hotel’s ownership at the same time. Dave Beck, President of the Teamsters and Roy Fruehauf of the Fruehauf Trailer Corporation were silent partners for at least 2 years. Fruehauf would sell his interest in the hotel in May 1957; other investors would lose everything when Castro came to power. Lansky planned to take a wing of the 10-storey hotel and create luxury suites for high-stakes gamblers. Batista endorsed Lansky's idea even though there were objections from American expatriates such as Ernest Hemingway. Under Lansky's impetus, a wing of the grand entrance hall was refurbished to include a bar, a restaurant, a showroom and a luxurious casino. It was operated by Lansky and his brother Jake, with Wilbur Clark as the front man. In 1956, singer Nat King Cole was contracted to perform in Cuba and wanted to stay at the Hotel Nacional de Cuba but was not allowed to because he was black. The hotel had earlier turned away Joe Louis, Marian Anderson, Jackie Robinson and Josephine Baker. Cole honored his contract, and the concert at the Tropicana was a huge success. The following year, he returned to Cuba for another concert, singing many songs in Spanish. There is now a tribute to him in the form of a bust and a jukebox in the Hotel Nacional. The new wing of the hotel, consisting of Wilbur Clark's Casino Internacional, the adjoining Starlight Terrace Bar, and the Casino Parisién night club (home of the Famous Dancing Waters), opened in 1956 with a performance by Eartha Kitt, who became the hotel's first black guest. The casino and clubs were an immediate success. According to an unpublished article sent to Cuban Information Archives around 1956-57, "The bar was tended by local bartenders, and the casino managed by gentlemen from Las Vegas." By the spring of 1957 the casino, sublet by the hotel for a substantial rent to Lansky, was bringing in as much cash as the biggest casinos in Las Vegas. In late 1958 the casino was sold to Michael McLaney and Carroll Rosenbloom. Following the Cuban Revolution in January 1959, Havana's casinos were briefly shut down, but were quickly reopened after protests by casino workers left out of work. Fidel Castro nationalized the hotel on March 20, 1960 and finally closed the casino in October 1960, almost two years after his overthrow of Batista. Jean-Paul Sartre stayed at the hotel just after the Revolution in 1960, with his wife, the philosopher, Simone de Beauvoir. The couple interviewed Che Guevara and Sartre wrote 'Sartre visits Cuba', which was published in Hanava in 1961, narrating his experiences. The hotel has since named the room he stayed in after him. There is a museum in the hotel's gardens dedicated to its role in the 1962 Cuban Missile Crisis, when anti-aircraft guns were set up on the site of the Santa Clara Battery and an extensive series of tunnels were built under the property, which are now open to the public on guided tours. After years of neglect due to the reduction in tourism following the revolution, the hotel was mainly used to accommodate visiting diplomats and foreign government officials. The collapse of the USSR in 1991 forced the Cuban communist party, anxious for foreign exchange reserves, to reopen Cuba to tourists. In its 80+ years of existence, the Hotel Nacional has had many important guests, including artists, actors, athletes and writers such as Winston Churchill, the Duke and Duchess of Windsor, Jimmy Carter, Frank Sinatra, Ava Gardner, Rita Hayworth, Mickey Mantle, Johnny Weissmuller, Buster Keaton, Jorge Negrete, Agustín Lara, Rocky Marciano, Tyrone Power, Rómulo Gallegos, Errol Flynn, John Wayne, Marlene Dietrich, Gary Cooper, Marlon Brando, Ernest Hemingway, Jean-Paul Sartre, Yuri Gagarin, scientist Alexander Fleming, Minnesota (United States) Governor Jesse Ventura, and innumerable Ibero-American Heads of State and European monarchs.

Details & Dimensions

Painting:Acrylic on Soft (Yarn, Cotton, Fabric)

Original:One-of-a-kind Artwork

Size:629.9 W x 57.1 H x 1.2 D in

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Yurii Yermolenko – A Master of Fine Arts (MFA), author of special, large-scale, monumental picturesque projects, set designer, art director (musical video), music video director, photographer, Facevinyl & RapanStudio Founder and CEO. Born in 1973 Kiev (Ukraine) Lives and works in Kiev. "LIVE PAINTING" One will never forget works painted by artist Yurii Yermolenko. They carry a rave of color, flexibility of motifs, and a very special reality. - Yurii, how long have you been living for painting? Creation of a painting, the plot, the canvas – is this an outburst of emotions, or reflection of your world outlook? - I believe that I began to live for painting even before I was born. The birth of a painting on canvass most of all resembles a rite, when you are led by some creative ecstasy, intuition. It should be noted however that the period preceding the creation of a painting is very interesting. Here, an entirely different scheme works, involving a great deal of analysis, collection of information, anthropological studies, maybe, travelling. - Your paintings are distinguished for intense colors. Does this reflect your temper, or the desire to add colors to everyday routine? - In the first place, it reflects my temper of an artist and a painter. When you paint a picture, it should sound in colors, as a good musical composition, this is the main thing. - You have a unique technique of execution – the images are smudgy and distinct at a time. What stands behind it? - I like it when a painting represents a deep picturesque space, full of special light, as if in a dream, in which, images can breathe and vibrate. - Who, or what, inspires you? - My dear muse, my angel of inspiration protects and helps me. And as far as the projects are concerned, they may be triggered by a beautiful dream or a journey. - What really encourages you – criticism, or commendation? - I am encouraged not by criticism or commendation, but by angels of inspiration. Criticism or commendation take place post factum, as a response to a work of art; both are helpful; the worst thing is when there is no response at all. - Please, tell us about your creative plans. - I will continue experimenting with techniques. By the way, my another project was a pure experiment with "flower-dotted" fabric – this decorative pattern dictates the figurative space. MAGIC WOMAN magazine, Culture (section)

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