Carlos Enriquez, is considered one of the best Cuban plastic artists of the first half of the nineteenth century. He was born on August 3rd, 1900 in the village of Zulueta, one of the greatest exponents of the Cuban plastic.
His art of reflect the feminine silhouettes on the canvas, was the subject of strong criticism from the Cuban bourgeoisie.
Carlos Enriquez received only academic training in a short course at the Pensnsylvania Academy, returning to Cuba in 1925 accompanied by Alice Neel, whom he married. Two years after returning two of his female nudes were removed from the New Exhibition Art on charges of "exaggerated realism" repression that recurs soon after and that pushes him to go back to overseas. They were not prepared to receive the beautiful genius and creativity coming out of the artist's hands.
Outside of Cuba, in Europe, sought new creative horizons, Carlos Enriquez traveled to Spain and France, where proximity to the vanguard positively influenced his work.
Back to Havana in 1934, again received the repression of critics who impede an exhibition of works on European stage, but the following year pays in the National Painting and Sculpture Room with his oleo Manuel Garcia.
Settled permanently in Cuba, in 1935, Carlos Enriquez begins to define new plastic guidelines, which targeted the rural world of the Cuban stage identified as the peasant ballads.
Without relinquishing the female eroticism in his works, also begins to shape the field experiences, a social protest. It also publishes articles in magazines and newspapers.
The year 1950 was sadness for Carlos Enriquez. Health problems due to broken bones and cure of alcoholism make him leave family and friends. Only a few accompanying him until his death in Havana on May 2nd, 1957, the day that must open an exhibition on the Editorial Lex and then was opened in June as a posthumous tribute.