SKU: 83985815018

Raul Enmanuel - Industrial

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Description

Raul Enmanuel - IndustrialThis is a wonderful example of Enmanuel's command of the paper medium. His texture, compositions, and technical mastery continue to astound. This is recent work, and though his symbology tends toward the abstract, he has hinted that these paintings are representative of feminine, divine beings of a benevolent, and supportive nature. Much of his work employs the palm jungle as a basis for the profound symbology, and iconography of the work. There is

This is a wonderful example of Enmanuel's command of the paper medium. His texture, compositions, and technical mastery continue to astound. This is recent work, and though his symbology tends toward the abstract, he has hinted that these paintings are representative of feminine, divine beings of a benevolent, and supportive nature. Much of his work employs the palm jungle as a basis for the profound symbology, and iconography of the work. There is great power in these paintings, and the forms, symbols, and figures in the end, compose these lovely abstract, tropical landscapes, that he has become known for. Though one can find points of reference that were inspired by the Latin Masters, the work has become entirely his own. There are several more images from this series available. These works are about 10" x 13", are mixed media on a rather fascinating, highly textured paper board. Very unique work.

 

Enmanuel's work was prominently featured in the 4th season of the Fox Television's show "Prison Break". It was used to decorate the loft space in the show, and his work can be seen in a number of episodes.

 

The origins of his iconography are in the early work of Wifredo Lam. One can see elements that are a reminder of this great artist's work. Though Enmanuel has used these elements as a point of inspiration, he has succeeded in making the work entirely his own. He has focused on Lam's early jungle work as a jumping off point, to create a body of symbols, and a language that depicts a reverence for Mother Nature, and his work has a power and intensity that is rarely found in contemporary art. We at MLA search for contemporary artists that have both conceptual genius, and technical mastery. A combination of qualities rarely found today, but present in abundance in the work of this brilliant artist. Enmanuel was selected to create two huge murals in Cuba. One is a 40 ft. mural at the Railway Station in Santiago, and the other is a 30 ft. mural in the lobby of the Melia Cohiba, which is the top hotel in Eastern Cuba. These are both extremely prestigious projects, and have placed this great artist in an important historical context.

 

We have been in business for 20 years, and enjoy a very good feedback rating. We believe in, and offer outstanding customer service. MLA Gallery has other paintings by Enmanuel, as well as a large selection of paintings, graphics, sculptures, and drawings by established Latin artists, and Latin Masters. Please inquire for many others. 

 

We can frame this rather nicely, with a black museum type moulding, floated on a platform over silk, for only $100 more, including packing and shipping.


 

 

Some biographical info on Enmanuel is as follows:

RAUL ENMANUEL POZO - BIOGRAPHY

Born in San Luis, Santiago, Cuba, 1958

 

Studies

1980-1985 Higher Institute of Art “CUBANACAN”, Havana, Cuba

1976-1980 National School of Art “CUBANACAN”, Havana, Cuba

1973- 1976   School for Plastic Arts Jose Joaquin Tejada, Santiago de Cuba

 

Solo Exhibitions

2004 – La locomotora de mi papa, Canvas Gallery, San Juan, Puerto Rico

2002 – Buscando Caminos, Galeria Juan Marinillo, Institute for the Friendship

            with People, Havana, Cuba

2000 – Mi Tiempo Vegetal, Casa de Teatro, Santo Domingo, Dominican Republic

1999 – Mi Tiempo Vegetal, Casa de Arte, Santiago de los Caballeros, Dominican

            Republic

1999 – Acrilicos sobre Telas, Galeria Oriente, Santiago, Cuba

1994 – Galeria Coral, Santa Fe de Bogota, Colombia

1993 – Tropico, Center of Applied Studies, Santo Domingo, Dominican Republic

1991 – Amuletos Recuerdo de mis abuelos, Galeria Oriente, Santiago, Cuba

1989 - Dibujos sobre Cartulinas, Galeria Cine Cuba, Santiago, Cuba

1988 – Dibujos sobre Cartulinas, Festival of Cuban Culture, Burdeo, France

1987 – 2nd annual Festival of Cuban Culture, Havana, Cuba

1987 – Apuntes para un Proyecto, Galeria de Arte Universal, Manzanillo, Cuba

1986 – De lo Nuestro La Vegetacion, Galeria de Arte Universal, Santiago, Cuba

1985 – Muntu, Galeria Galeano, Havana, Cuba

 

Collective Exhibitions

 

Participated in over 50 group shows in Cuba, the Dominican Republic, Colombia,

Portugal, France, and the United States.

 

2008 – The Americas Collection – Coral Gables, Florida

2008 – Featured artist - Spring Brewery Artwalk, MLA Gallery, Los Angeles, CA

2008 – Spring Brewery Artwalk, LS Contemporary, Los Angeles, CA

2007 – Fall Brewery Artwalk, MLA Gallery, Los Angeles, CA

2007 – Outstanding new contemporary artists, LS Contemporary, Los Angeles, CA

2007 – Elements of Abstraction, Gallery on State, Santa Barbara, CA

2006 – Brewery Artwalk, MLA Gallery, Los Angeles, CA

2005 – Crosscurrents, Soho Gallery, Studio City, CA

2005 – Contemporary Visions, Audis Husar Fine Art, Beverly Hills, CA

2005 – Brewery Artwalk, MLA Gallery, Los Angeles, CA

2004 – Tropical Profundo, MLA Gallery, Los Angeles, CA

2004 – Brewery Artwalk, MLA Gallery, Los Angeles, CA

2003 - Brewery Artwalk, MLA Gallery, Los Angeles, CA

2003 - Cuban Artists, Gallery Nader, Santo Domingo, Dominican Republic

2002 – Brewery Artwalk, MLA Gallery, Los Angeles, CA

2002 – Cuban Painters, Naipe Museum, Havana, Cuba

2001 – Cuban Artists, Gallery Nader, Santo Domingo, Dominican Republic


2000 – Four Abstract Painters, Galeria San Ignacio, Havana, Cuba

2000 - Participant in the 7th Havana Biennial

1999 - End of the Century Hall, Emilio Bacardi Museum, Santiago, Cuba

1999 - Serigraphy Workshop, Taller Rene Portocarrero, Havana, Cuba

1999 - Cuban Painters, Museum of the Americas, San Juan, Puerto Rico

1998 - Galeria de Arte Universal, Santiago, Cuba

1998 - Galeria Oriente, Santiago, Cuba

1997 - Salon de 30 de Noviembre, Santiago, Cuba

1996 - The Gallery of the Hotel Melia Cohiba, Santiago, Cuba

1995 - House of Culture Gallery, Lisbon, Portugal

1994 - Art Center Gallery, Nelva, Colombia

1994 – Five Cuban Painters, Viva del Arte Galeria, Bogota, Colombia

1993 - Four Cuban Painters, Art Gallery of the Dominican Institute of Applied

            Studies ( IDEA), Santo Domingo, D.R.

1990 – Contemporary Painting, Center for Dominican Architecture, Santo                                  

            Domingo, Dominican Republic

1988 – Cuban Painters, Centro de Arte 501, San Francisco

1988 - Cultural Assets Hall Fund, Santiago, Cuba

1987 - Salon 30 de Noviembre, Santiago, Cuba

1987 - Galeria de Arte Universal, Santiago, Cuba

1986 - Seven Cuban Painters, Gallery of the House of Culture, Havana, Cuba

1986 - Participant in the 2nd Havana Biennial

1985 - Students Hall of the Hermanos Sainz Brigade, Galerie Oriente, Santiago,

            Cuba

1984 – Students Hall, Higher Institute of Art, Cubanacan, Havana, Cuba

1984 - Participant in the 1st Havana Biennial – A Tribute to the Triumph of the

            Cuban Revolution, Lobby of the Carl Marx Theatre, Havana, Cuba

 

Murals

 

Restaurant of Melia Cohiba Hotel, Santiago, Cuba

Railway Terminal, Santiago, Cuba

Executive Airport, Santiago, Cuba

 

Awards

 

1999 - National Prize of Serigraphy, Workshop “Rene Portocarrero”

1998 - Cuban Cultural Assets Fund, 1st prize for painting

1998 - Salon Fin de Siglo, National Union of Cuban Writers and Artists (UNEAC)

1997 - Honorable mention – Emilio Bacardi Museum, Santiago, Cuba

 

1997 - First Prize, Acquisition for Permanent Collection, Emilio Bacardi Museum,

            Santiago, Cuba

1989 - National Award for the Painting on Canvas, TELARTE Vll, Cultural assets

            of Cuba Fund

1987 - Honorable mention, Painting, City Hall, Santiago, Cuba

1986 – 1st Prize for the Carnival Poster, San Luis, Santiago, Cuba

1985 - Honorable mention, Students Hall of the Hermanos Sainz Brigade,

           Galeria Oriente, Santiago, Cuba

1984 – 1st Prize for the Carnival Poster, San Luis, Santiago, Cuba

 

Distinctions

 

1998 - Shield of Villa de San Luis de las Enramadas, Santiago, Cuba

1997 – Official Key of the Cultural Assets of Cuba Fund, Santiago, Cuba

            Member of UNEAC (National Union of Cuban Writers and Artists)

            Member of the International Association of Plastic Artists

 

Collections

 

His works can be found in many permanent and private collections.

 

Emilio Bacardi Museum, Santiago, Cuba

Museo Polivalente, Santiago, Cuba

Center of Art Ceballo Estrella, Santiago, Cuba

MLA Gallery Collection, Los Angeles, CA

Banco de Reservas, Santo Domingo, D.R.

In addition to many private collections throughout Cuba, the Dominican Republic,

Colombia, Mexico, Jamaica Spain, Germany, France, Italy, Portugal, and the United States.


 

For more info call us at (323) 744-7550, or to see a greater selection of the gallery work, please visit our Artnet site at:

http://www.artnet.com/galleries/mla-gallery/

 

 

 

 

 

 

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David C. Bright
Lexington, US
★★★★★ 5
A must-read - hair-raising, deeply alarming, and shudder-producing
Format: Kindle
What I liked: - Deeply researched - amazing depth, particularly of a wide range of characters (a few of whom are true heroes) and many more miscreants - Rachel must have had a spectacular research team to work with! She mentions that "there were millions of words written about the rise of (and fight against) fascism as it was happening in pre-World War II America" - but I bet that most Americans haven't been exposed to them. - Starts off mildly with George Sylvester Viereck (a ridiculous author, but just wait!) but then shifts gears progressively as the story builds and adds in a raft of odious characters - Not afraid to name names - some of the politicians ultimately come in for some serious whacking (see Sens. Wheeler and Langer especially). Also surprising were the back stories of names I recognize (architect Philip Johnson, for example) without knowing of their nazi sympathies and antisemitism. - Mr. and Mrs. Lindbergh are waaay more complicated than our stereotypes of the heroic but opaque pilot and his saintly wife (she is one scary piece of work!) - stuff I simply didn't know, and what was presented was alarming to the extent of making skin crawl - I had never heard of the sedition trials of 1943 and 1944 and prosecutor John Rogge at all before - just one example of new (and stunning) information from our history - absolute bedlam! - As the history advances and the book nears its end, there are several BIG events that may push you back in your reading chair several times - again, no spoilers, but hoo-eee! - The epilogue was a treat to read - again, I won't reveal any spoilers A minor criticism - the book is derived (I believe) from Rachel's podcasts, and thus the writing has her inimitable voice (pointed asides, etc.), but as a result may lack some polish and smoothness in the prose. Some may love it, some may carp, some may not even notice it. Whatever. If material about this period is of interest to the reader, be certain to seek out "Hitler in Los Angeles" by Steven J. Ross - its focus is a little narrower, dealing with Jewish undercover work to foil Nazi plotting in Los Angeles, but Leon Lewis, a true mensch and hero, is in Maddow's book as well.
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Reviewed in the United States on October 18, 2024
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David Simpson
Port Orchard, US
★★★★★ 4
Fascinating details from the past but not really a “prequel”
Format: Hardcover
Rachel Maddow’s “Prequel: An American Fight Against Fascism” recounts the efforts of pro-fascists in the United States, aided and manipulated by Nazi Germany, to keep America from actively opposing Hitler as well as to plot ways to turn America into a fascist country. The struggle to defeat those forces began in the early 1930s led by private citizens who, on their own, went undercover to join fascist groups and try to alert various government agencies about what was happening. A relatively small number of fascists gathered weapons to prepare for an insurrection. In the last chapters of the book, Maddow describes a 1944 trial in which the Justice Department brought sedition charges against some 30 defendants, most of whose activities she covered in previous chapters. The trial was chaotic, interrupted by frequent outbursts from the defendants and their lawyers. When the judge suddenly died one night of heart attack and a mistrial was declared, the Justice Department did not seek a new trial. The war against Hitler was nearing an end, so there was no push to revisit the past to pronounce judgment on those whose activities on the home front ultimately did not affect our victory over the Nazis. Since the ending is rather anticlimactic, Maddow, at times, may try a little too hard to make things sound more dire than they really were. Although elsewhere she has described Westbrook Pegler as an “extreme” right wing columnist and “pseudo-fascist,” she quotes him at the end of her chapter on Huey Long as averring that, in Louisiana, Long was “gradually copying the Hitler state.” Long was certainly a corrupt, authoritarian politician, but his populist politics had their origins in his upbringing in Winn Parish, where the Socialist Party carried the day in the 1912 election. Had he lived and had he run for president in 1936, he might have drawn enough votes from FDR to give the election to a Republican candidate, but he had no use for Nazism. (I live in Louisiana where, until 1973, we observed Huey’s birthday as a state holiday.) Maddow seems to imply that there was something nefarious about the death in 1940 of Senator Ernest Lundeen in a passenger airplane crash that occurred during a thunderstorm. Lundeen, who had close ties to a top Nazi spy, may have been under investigation, but nothing indicates that his presence on the flight had anything to do with the crash. The cause was never determined, but, based on the way the plane headed forcibly into the ground, a likely explanation is that it was caught in the kind of thunderstorm microbursts that we now know has caused similar crashes. Though, for me, the book seems to promise a bit more than it actually delivers, I did learn a lot about the ties of right wing politics to Nazism during that era. I was aware that Henry Ford was a fanatical antisemite, but, until I read Maddow’s book, I did not know that his efforts extended to publishing a ninety-two part series based on the Protocols of the Elders of Zion that appeared in the Dearborn Independent, a newspaper that he owned, with copies distributed to every Ford dealership. It was published in book form as “The International Jew” and widely circulated in Germany. Hitler praised Ford in “Mein Kampf” and, according to one account, had a portrait of Ford displayed on the wall in his office when he was visited by an American reporter. I was aware that the Nazis studied segregation in the American South for guidance in drafting their own race laws, but I didn’t know that Nazi Germany dispatched an attorney to the University of Arkansas School of Law to acquire first-hand knowledge. I was aware that Father Coughlin was a demagogic opponent of FDR, but I was not aware of the ferocity of his antisemitism or his ties to various pro-Nazi fascists. However, I was really totally unaware of the way actual Nazi agents in league with pro-Nazi Americans were able to get congressmen and senators to distribute Nazi propaganda, typically inserted into the Congressional Record and then sent to millions of Americans for free using the congressional franking privilege. On the other hand, I doubt that propaganda delivered in that manner was very effective. Pages from the Congressional Record could not compete with the message delivered by the 1939 Warner Brothers film “Confessions of a Nazi Spy,” the first anti-Nazi movie produced by Hollywood, based on actual events that Maddow describes. Nothing pro-fascists did in the United States affected our entry into the war against Germany. We went to war when Hitler himself declared war on us four days after Japan bombed Pearl Harbor. Nazi Germany certainly posed a military threat, but there wasn’t much danger that fascist politics would actually prevail in the United States. The political situation is very different today and, though I, like Maddow, admire the “smart, brave, determined, resourceful, self-sacrificing [anti-fascist] Americans who went before us,” I think the political challenges we face today are much more dire.
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Reviewed in the United States on December 11, 2023
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Glenn T. Livezey
Lake Worth, US
★★★★★ 5
The History of American fascism
Format: Hardcover
Quality and fierce journalism. Reviving and honoring adherence to a true history and context of American fascism
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Reviewed in the United States on March 15, 2026
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True Crime Reader
Whiting, US
★★★★★ 5
Well Researched and a Terrific Read
Format: Kindle
Thank you Rachel! I enjoyed this so much, it was an eye-opener. So much I didn't know.
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Reviewed in the United States on February 12, 2026
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dmh65016
Dallas, US
★★★★★ 5
5 Star
Format: Hardcover
Rachel is a very fine writer.
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Reviewed in the United States on April 19, 2026

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