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A true multicultural artist who drew on his roots in Cuba, as well as his travels in Europe and the Caribbean, Lam was a trailblazer who helped open up mid-century Modernism through the perspective of the oppressed. Trained in academic art and later absorbing the artistic experiments of white European avant gardes, Lam came up with his own painting style that he viewed as an artistic and mental act of decolonization.
He made art that, with a Black historical awareness, explored and celebrated his cultural heritage, becoming an influential voice in Afro-Cubanism as well as in the history of Black art. Lam first received artistic instruction in a traditional realist style from the San Alejandro art school in Cuba, focusing his efforts on landscapes, still life, and portraiture. Many of his works from this period have disappeared, or have yet to receive proper attribution made more difficult by their striking difference from his more abstract later works.
However, some examples are available, and they demonstrate his early skill as a draftsman, including his pencil portraits Campesino and Campesina Castellana Spanish Peasants painted in In these works we see Lam's early mastery of texture, exemplified by the soft, naturalistic appearance of the shawl and headscarf worn by his Campesina Castellana , as well as his unique ability to capture the psychological state of his subjects.
His early interest in Marxism led him to focus on socially oppressed subjects, like the Campesina , whose coarse skin and plain appearance suggest a lifetime of work. She presents herself with pride, however - her piercing eyes stare right into the viewer. When, in , Lam's first wife Eva and their son Wifredo Victor died of tuberculosis, he sank into a deep depression, and, in his suffering, began to paint numerous variations on the "mother and child" theme.
