from cuba to méxico passing through new york
Félix Beltrán (Félix Juan Alberto Beltrán Concepción) is a Cuban artist born in Havana, Cuba, in 1938. He has had an important career as a graphic designer, painter, draftsman and engraver. Since the eighties he resides in Mexico.
Between 1956 and 1962 he resided in the United States, where he studied Graphic Design at the School of Visual Arts, painting at the School of American Art and lithography at the Pratt Graphic Arts Centre in New York City.
His approach is especially important so that nothing would be lacking in his works or nothing would be left over and that the creative part was to facilitate the persuasion of the public. He defends a practical design, where its attractiveness derives from its contents and not from its makeup, especially in the poster.
He also studied at the New School for Social Research, where he met Adorno, Erich Fromm and Herbert Marcuse, among others. Félix Beltrán has a long professional experience as he worked in different publications and institutions. Between 1953 and 1956 he was advertising designer at McCann Erickson Co., and was sworn in 1974 for the VI Biennale des Arts Graphiques in Czechoslovakia and in 1976 for the 6th International Poster Biennial in Zaçheta Gallerand, Warsaw, Polond. Since the mid-1980s, resides in Mexico City, where he became curator of the International Graphic Archive at the Autonomous Metropolitan University. He was also Professor of Graphic Design at the Higher Institute of Industrial Design (ISDI) (1980-1982), Higher Institute of Art (ISA) (1976 – 1982), in Havana, Cuba; in the Institute of Higher Studies of Tamaulipas and the Ibero-American University in Mexico. Currently, he is a professor at the Metropolitan Autonomous University also in Mexico.
It is worth highlighting his participation and involvement in political activities to defend the Cuban Revolution. For this reason, he returned to Cuba at the end of 1962 to contribute to the Revolution. His approach is especially important so that nothing would be lacking in his works or nothing would be left over and that the creative part was to facilitate the persuasion of the public. He defends a practical design, where its attractiveness derives from its contents and not from its makeup, especially in the poster.