We perform Guillermo Collazo art authentication, appraisal, certificates of authenticity (COA), analysis, research, scientific tests, full art authentications. We will help you sell your Guillermo Collazo or we will sell it for you.

During the colonial period in Cuba, Guillermo Collazo was perhaps the most controversial artist among his contemporaries. Possessing highly political views and upholding French artistic ideals, Collazo’s artwork expresses his contrary lifestyle among other Cuban artists.

Little is known about Collazo’s formal training, or whom he studied under in Cuba. During the Revolution, one of his young cousins was shot and killed, which sent him into a rage. Collazo’s elite parents knew of his political views, and before he could do anything in response, they sent the young artist to the United States.

Collazo ended up staying in New York for a long period of time. He arrived there not knowing the language, and eventually ended up doing illustrations for magazines and publications.

In 1883, he returned to Havana, and then decided to make his home in Paris where he moved to in 1888. Along with his separatist views, Collazo also stirred up controversy with his dedication to the French style of paintings. He was known as “the painter of the great ladies and charming landscapes” and truly lived up to it.

His dedication to the French way of painting made Collazo also known as a great painter of light and texture in his time. Collazo’s most famous painting, “La Siesta” shows his full range for painting light and details in a Realist yet dreamy way.

Collazo’s seems to purposely avoid the “Cuban” tradition of painting scenes relative to Cuba and it’s history. He would focus most of his attention on the details of a dress or foliage in a garden, and was well known for depicting ladies of the day in a radiant light.

Since Collazo’s earliest training is generally unknown, the possibility for finding some of his early work unauthenticated is endless. His time spent abroad in the United States and Europe also leaves wide-open possibilities for his work to exist outside of Cuba.

Towards the end of Collazo’s short life and career he turned to sculpture. By this time, his eyes were failing him due to his drug addiction, and he could no longer paint. Collazo’s sculpture is also not widely catalogued, and to come across one of these would be quite a find. His sculpture would probably have been created in Paris around the end of the 1890s.

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