Illustration Credits

McEwen, Abigail

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Illustration Credits

Abigail McEwen

Revolutionary Horizons: Art and Polemics in 1950s Cuba

~The photographers and the sources of visual material other than the owners indicated in the captions are as follows. Every effort has been made to supply complete and correct credits; if there are errors or omissions, please contact Yale University Press so that corrections can be made in any subsequent edition.

Author

Abigail McEwen

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00104.010

Stable URL: https://aaeportal.com/?id=-18045

Illustration Credits

The photographers and the sources of visual material other than the owners indicated in the captions are as follows. Every effort has been made to supply complete and correct credits; if there are errors or omissions, please contact Yale University Press so that corrections can be made in any subsequent edition.

Rare Book Division, Department of Rare Books and Special Collections, Princeton University Library, Photograph © Princeton University Library (fig. 3); The Wolfsonian-Florida International University, Miami Beach, Fla., The Vicki Gold Levi Collection, XC2002.11.4.26, Photograph © Lynton Gardiner (fig. 4); © Eduardo Luis Rodriguez, used by permission (figs. 6, 8); © 2015 Artists Rights Society (ARS), New York/CREAIMAGEN, Santiago de Chile, Photograph by Abigail McEwen (fig. 7); Courtesy Charles Deering McCormick Library of Special Collections, Northwestern University Library (fig. 9); Courtesy John Hay Library, Brown University Library (figs. 10, 12–14); Courtesy of the Estate of José Ygnacio Bermúdez (fig. 11); Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, N.Y., Courtesy of THE AMELIA PELAEZ FOUNDATION (fig. 15); © 2015 Artists Rights Society (ARS), New York/CREAIMAGEN, Santiago de Chile, Photo © Christie’s Images Limited 2015 (fig. 18); Courtesy of the artist’s daughter, Patricia Riverón Lee, Photograph © Steven Brown (fig. 19); Courtesy of the heirs of Julio Girona (fig. 20); Courtesy J. Roberto Diago, Photograph © Gary Nader Art Centre (fig. 21); Courtesy Mariana Ravenet Ramírez, daughter of the artist and main executor of his works and archive (figs. 22, 35); Courtesy of the Estate of Roberto Estopiñán (fig. 23); Artists Rights Society (ARS), New York/ADAGP Paris, Photograph © Wifredo Lam Estate (fig. 24); Courtesy Christoph Singler, Guido Llinás Estate (figs. 25, 71, 119); Courtesy OAS AMA | Art Museum of the Americas Archives (figs. 26, 30, 32, 33, 36, 38, 40, 42, 60, 62, 66, 67, 72, 80, 85, 88–91, 107); Courtesy of the Estate of Tomás Oliva, Photograph © Raúl Martínez (fig. 27); Courtesy Richard S. Frazer, Photograph © Mariano Costa Peuser (fig. 28); Courtesy Elena Cárdenas Malagodi (figs. 29, 50); Courtesy of the Cuban Heritage Collection, University of Miami Libraries, Coral Gables, Fla. (fig. 31); Courtesy Galerie Lelong, New York, Photograph © Zilia Sánchez (fig. 41); Courtesy Avery Architectural and Fine Arts Library, Columbia University (figs. 53, 54); Courtesy University of Kentucky Special Collections Research Center (figs. 55, 99); Artists Rights Society (ARS), New York/ADAGP Paris, Photograph © Estate of Jesse Fernandez (fig. 57); Courtesy of THE AMELIA PELAEZ FOUNDATION (fig. 58); Courtesy of The Agustín Fernández Foundation, Photograph © Eduardo Luis Rodríguez (fig. 59); Courtesy Corina Matamoros, Estate of Raúl Martínez (fig. 61); Courtesy Richard S. Frazer, Archives of American Art, Smithsonian Institution (fig. 63); Archives of American Art, Smithsonian Institution, Courtesy Corina Matamoros, Estate of Raúl Martínez (fig. 64); Courtesy of the Estate of José Ygnacio Bermúdez, Photograph © Jorge Palomino (fig. 65); Courtesy Rockefeller Archive Center (fig. 69); Courtesy of the Estate of Tomás Oliva (fig. 70); Photograph © Christie’s Images Limited 2015 (fig. 73); © 2015 Artists Rights Society (ARS), New York/CREAIMAGEN, Santiago de Chile, Photograph (fig. 74); Courtesy of The Rafael Soriano Foundation (fig. 75); Courtesy of The Rafael Soriano Foundation, Photograph courtesy Tresart (fig. 76); Courtesy J. Roberto Diago, Photograph © Christie’s Images Limited 2015 (fig. 77); Courtesy Columbus Memorial Library, Organization of American States (fig. 79); Courtesy Jérôme Arcay, Photograph © Etienne Weill (fig. 81); Courtesy Martha Flora, Photograph courtesy Tresart (fig. 82); Courtesy Eusebio Sempere Family (fig. 83); © Carmen Herrera, Courtesy Lisson Gallery, Photograph © Ken Adlard (fig. 84); Courtesy of Arévalo Gallery (fig. 86); Courtesy Martha Flora (fig. 92); Courtesy Pedro de Oraá, Photograph courtesy Tresart (fig. 93); Courtesy of the Estate of Salvador Corratgé (fig. 94); Courtesy of Tresart (fig. 96); © Magnum Photos, Burt Glinn (fig. 97); Reproduced from the original held by the Department of Special Collections of the Hesburgh Libraries of the University of Notre Dame (fig. 98); Photograph © Fernando Fors (fig. 103); Courtesy Corina Matamoros, Estate of Raúl Martínez, Center for Southwest Research, University Libraries, University of New Mexico (fig. 104); Courtesy Hoover Institution Library & Archives, Stanford University (fig. 108); Photograph by Abigail McEwen (fig. 113); Courtesy of the Estate of Tomás Oliva, Photograph by Abigail McEwen (fig. 114); Photograph by Abigail McEwen (fig. 115); Lowe Art Museum, University of Miami, Fla., USA/Bridgeman Images (fig. 116); © Mario García Joya (fig. 117); Courtesy Manuel Gómez and Susana Barciela, Trustees of the Estate of Antonia Eiriz, Photograph © Jorge Palomino (fig. 118); Courtesy Richard S. Frazer, Photograph © Jorge Palomino (fig. 120).

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