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Art and the Man: Alex La Guma's Comics and Paintings

Art and the Man: Alex La Guma's Comics and Paintings ROGER FIELD Perhaps it is more difficult than most imagine for a historian to speak of memory, for one who practices this profession – and for what deep-seated reasons? – whose essence is the act of juxtaposing debris with explosions of often barely recognisable remembrances, which are then clad by the imagination in order to conjoin them, to reconstruct an image, according to schema that arise willy nilly, from oneself; to compose a figure that often stems less from the past than from the historian’s dream.1 This article explores two relatively unknown areas of Alex La Guma’s work – his comics and painting. While there is plenty of the former, information on the latter has come from his family and contemporaries. It is based on their memories and impressions of paintings that have not survived or have been lost. La Guma gave them away or left them with friends to look after when he and his family moved from Cape Town to London, and then from London to Havana.2 Necessarily, this article falls into two parts distinguishable by their respective emphases. While the first part relies on documentation, the second is more speculative and draws on the work http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Critical Survey Berghahn Books

Art and the Man: Alex La Guma's Comics and Paintings

Critical Survey , Volume 11 (2) – Jun 1, 1999

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Publisher
Berghahn Books
Copyright
© Critical Survey and Berghahn Books,
ISSN
0011-1570
eISSN
1752-2293
DOI
10.3167/cs.1999.001115799782483870
Publisher site
See Article on Publisher Site

Abstract

ROGER FIELD Perhaps it is more difficult than most imagine for a historian to speak of memory, for one who practices this profession – and for what deep-seated reasons? – whose essence is the act of juxtaposing debris with explosions of often barely recognisable remembrances, which are then clad by the imagination in order to conjoin them, to reconstruct an image, according to schema that arise willy nilly, from oneself; to compose a figure that often stems less from the past than from the historian’s dream.1 This article explores two relatively unknown areas of Alex La Guma’s work – his comics and painting. While there is plenty of the former, information on the latter has come from his family and contemporaries. It is based on their memories and impressions of paintings that have not survived or have been lost. La Guma gave them away or left them with friends to look after when he and his family moved from Cape Town to London, and then from London to Havana.2 Necessarily, this article falls into two parts distinguishable by their respective emphases. While the first part relies on documentation, the second is more speculative and draws on the work

Journal

Critical SurveyBerghahn Books

Published: Jun 1, 1999

There are no references for this article.