Autorretrato en tarde rosa, originally painted in 1994, is a quintessential example of the hyperreal landscapes which have made Tomás one of the most important living Cuban artists. True to its title – which translates as Self-portrait on a pink afternoon – the composition quietly includes the artist himself as a small meditating figure. This subtle detail symbolises his presence not as dominator but as a reverent witness to nature's power.
This archival pigment print faithfully translates the luminous detail and meditative atmosphere of the original painting.
Dimensions: 20.8 x 28 Inches
Medium: Archival pigment print on Somerset Tub Sized Radiant White 410gsm paper
Provenance: Hand-signed and numbered by the artist. Comes with original publisher issued certificate of authenticity hand-signed by Tomas Sanchez.
Edition: Limited Edition of 470
Year: 2026
Condition: Excellent
ABOUT THE ARTIST
Sánchez’s symbolic landscapes have made him one of the most important living Cuban artists. Part of Volumen Uno in the 80s, a movement that resisted the heavily censored Cuban art of the time, he has since received international recognition, with auction prices in excess of $600,000 USD. Inspired by the Romantics, Sánchez paints the wilderness of his homeland, as well as vast panoramic views of garbage dumps. The works are incredibly detailed with a lush tropical palette, encompassing the physical wonder of the natural world, it’s immense spiritual power, and humankind's tendency to destroy it. Small human figures set against waterfalls, lagoons and palm trees engage with humankind's insignificance, search for inner peace, and broader environmental issues. Steeped in allegory, Sánchez’s art reinterprets traditional modes of painting to create an uncanny paradise that is at once hopeful and threatening.
While Sánchez is best known for his hyperreal landscapes, he has also experimented in print, sculpture, photography, drawing, and with different styles of painting. His earlier works under the title Expressionism explore a looser painted gesture steeped, as ever, in symbolism. El Circo/The Circus (1974), is an oil on canvas depicting a circus tent with a raucous crowd watching Jesus being carried on the cross. There is a red bullfighting cloth on the stage, but a chicken instead of a bull; the two men pulling the cross and gearing the crowd wear red colonialist hats. Various angels and the Virgin Mary are among the audience members, all of whom watch with both eagerness and dread. The work plays with tropes of religious iconography as a sardonic metaphor for the performativity of religion, colonialism, politics and populism, whether ancient or contemporary.
