In “Nueva Pintura de Cuba,” Cuban cultural scholar Graziella Pogolotti illustrates the importance of a specific generation of Cuban artists who began to paint during the country’s most tumultuous period. In the 1953 exhibition, Homage to Martí, their work crystallized the anti-Batista sentiment, and later their success was affirmed by the 1959 revolution. Pogolotti includes quotes from painters Raúl Martínez, Hugo Consuegra, and Orlando Yanes to show that the Cuban Revolution reinvigorated artists and established a new purpose for Cuban art: to reflect the sense of Cuba’s transitional reality. Pogolotti explains that from their post-revolutionary perspective, this new generation of painters was able to liberate Cuban art from lifeless academicism, which resulted in a modern and authentic Cuban art. In order to promote this art, Pogolotti indicated that painters had to abandon Cuban tradition in order to discover their own set of essentially Cuban values, which were patriotism, dignity, and solidarity. Reinforcing the validity of a national art, Pogolotti identifies a number of visual elements unique to Cuba and associates them with groups of Cuban Modern artists. Amelia Peláez and Rene Portocarrero exhibit the subtle baroque sensibility that balances opulent forms. Pogolotti considers Wifredo Lam, Ángel Acosta León, Julio Herrera Zapata, and Roberto García York Surrealists in that they lyrically render simple and familiar objects. Antonio Vidal, Antonia Eiriz, Juan Tapia Ruana, and Guido Llinás formed part of a group known as The Eleven who pursued Abstract Expressionism with dynamic, liberated paintings. On the other hand, Salvador Corratgé and Pedro de Oraá, represent a minority of Cuban modern painters whose work tends toward concrete art through intellectual, highly purified abstractions. Finally, Pogolotti describes work by Servando Cabrera Moreno, Fayad Jamís, and Orlando Yanes—after he returned to Cuba—as a kind of realism that rejects the formal, and instead conveys a direct experience of the Revolution.