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"Florida Keys - Bananas" _ Fundora, Thomas  (thumbnail) "Golden Coconuts of the Keys" _ Fundora, Thomas  (thumbnail) "En La Florida"_Alvarez, Pedro  (thumbnail) "Untitled"_Castro, Humberto (thumbnail) "It's only water in the teardrop of a stranger_ Gory  (thumbnail) "Untitled"_Escobedo, Eberto (thumbnail)  "Virgen de Cobre"_RIVERA GARCIA, OSCAR (thumbnail) "Untitled 1"_MIJARES, JOSE MARIA (thumbnail) "untitled 3"_DE LA CAMPA, ALICIA (thumbnail) "untitled 14"_Unknown (thumbnail) "UNTITLED 3"_PORTOCARRERO, RENE (thumbnail)
"Florida Keys - Bananas" _ Fundora, Thomas  (large view)
 
"Florida Keys - Bananas" _ Fundora, Thomas
Oil on Canvas
16"x22"

Artist Information:
Born in Havana, Cuba, Tomas Fundora is indeed a Renaissance man of the 90's: Poet, Composer, Song Lyricist & Artist Extraordinaire. Fundora studied art in Europe and his unique style reflects international culture and elegance. A graduate of Escuelas TUR and Candler College with a major in Art and minor in Literature, Fundora also studied Modern Art at Escuela San Alejandro in Cuba and attended special courses in Art Restoration at the School of Art in Bologna, Italy with additional courses taken at Washington School of Art, Art Students League in New York and studied with Maestro Jose Asber Cruz.
As President of the Association of Latin American Painters of New York, Fundora conducted courses in painting and sculpture and became the curator of all the art works of Mama Leone's Restaurant in New York for eight years.

In the winter of '54 "Mama Leone's Art Show" offered in conjunction with the "Carnavale Italiano", Fundora's painting, "Gruta Azul". This painting was awarded the winning prize of this important art exhibit. He painted "Gruta Azul" while improving his knowledge of art restoration in Bologna, Italy and received several awards. It became very popular among art lovers during this period and he became known as "el pintor de las cuevas".

After a smashing success in an exhibition at Caravan Gallery in New York, Fundora's most famous work "El Cristo de Espaldas" (The Back of Christ) attracted international recognition and fame and was exhibited at the Spanish Pavilion (Pabellon de Espa?a) at the 1965 New York World's Fair. It was painted as his impression of the Master as seen by his followers and Apostles when they followed him in his ministries.

Although this famous painting hung beside works by Pablo Picasso and Salvador Dali, some misunderstood its meaning and regarded it as a political painting. This created a tense atmosphere resulting in attacks on Fundora and his studio. In despair, the artist put his career on hold and went into artistic seclusion.

Even though his paintings continued to be exhibited by the most important galleries in Europe, Fundora spent time recovering for over 11 years.

In 1982 he started painting again, this time with more force, touched by the same creativity that made Emilio Hidalgo write: "Fundora creates the illusion that you are a part of the painting. His technique is sharp and full of life. One feels that his bristles carry a ray of Sun. That's what it is, he has an impersonal way of creating the illusion that all subjects are surrounded by space, brightness and shadows".

Toma Fundora has amassed a prestigious clientele, with works hanging in the homes of artists, dignitaries, politicians and business personalities throughout the world.