Havana Has the Face of a Woman
Exhibition at the Servando Cabrera Museum
Photo Feature by Irina Pino
HAVANA TIMES – Paseo Avenue is well-preserved, with its fresh and extensive tree-lined areas. As we walk down it, we can hear the song of the birds that inhabit the trees. If we sit in one of its benches, we are immediately calmed by the energy emanating from the air and the greenery. Likewise, it’s a gift for the eyes to admire the homes that line it all the way to Zapata St.
One of the most perfect buildings is Villa Lita, the headquarters of the Servando Cabrera Museum, located at 304, between 13 and 15th Streets. Its architecture dates back to 1912 and was commissioned by Rafael Maria Muñoz y Rodriguez. The house had several owners until, in 2007, it was turned into a museum in tribute to the Cuban painter.
It’s worth visiting the mansion, with its spacious halls, staircase, upper rooms, terrace, balconies, gardens, and courtyards. On the lower floor, at the back, there is a small room decorated with stained glass and a sculpture of a woman. It’s one of the most striking corners, not only because of the colorful stained glass but also due to its discreet harmony. I imagine that tea or coffee was enjoyed there, along with light snacks.
After being closed for ten years (the exact reasons are unknown), the museum has opened its doors with the exhibition La Habana tiene rostro de mujer (Havana Has the Face of a Woman), inaugurated yesterday, curated by Nurys Mendoza. The paintings, original works by Servando Cabrera, recreate female figures, women with long necks and gentle lines, with clear gazes that emanate the depth of those hearts. They are, unquestionably, icons of great beauty and humanity.
The techniques used are oil and tempera, on canvas and cardboard. The profiles are part of his Habaneras series (Beatriz, Gloria). Meanwhile, the larger works are titled: Siempre Maria (Always María), La madre del cordero (The Mother of the Lamb), Soledad (Solitude), Isabel y las brisas (Isabel and the Breezes), Calle Quiroga (Quiroga Street), and Flores dulces para Marta Jimenez (Sweet Flowers for Marta Jimenez). They were created in the 1970s and 1980s.
Servando passed through various artistic movements, one of my favorites being his homoerotic paintings, with bodies fragmented in intense colors, in amorous positions.
I hope that soon other collections can be displayed, as the building holds more than five thousand works, including paintings, drawings, popular crafts, documents, and objects from Cabrera Moreno. It has two libraries: one with his personal documents and the other with publications on art.
Numerous articles about this artist have been written in digital and print magazines. I invite you to look for information about his life and work. I still don’t understand why no filmmaker has thought to make a movie that evokes the richness of his intimate world.
For many admirers, it’s sad to know that there were years when he remained silenced by the institutions that should have promoted his works, as befitted the greatness of an authentic artist.